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"Quantum of Solace" Location Details & Plot Tie's - BondMovies.com Message Board
Translated from "QoS" Italian Production notes
WARNING SPOILERS
Bruneval Barracks, Montgomery Lines, Aldershot portrayed the city of Moscow covered with snow, where Bond tracks down Yusef, the Algerian who betrayed Vesper, and delivers him to MI6.
TAG Farnborough Airport was used to stage the mysterious meeting between the CIA and Dominic Greene at the airport of Bregenz, Austria.
Within the building of the terminal, the credit card of Bond is denied when disqualified by M and added to the list of those to be "captured or killed" by MI6.
Bodyflight in Bedford, the first vertical wind tunnel for parachute training in the United Kingdom, and the largest in the world, was used by the department of visual effects for James Bond and Camille during their dive into free fall from the DC3 plane in Bolivia.
Mathis joins Bond in a Virgin Atlantic Airways Executive Class lounge bar and orders his famous Vesper Martini.
The Reform Club, on Pall Mall, London, was used as the government building where the Minister of Foreign Affairs reprimands M for the extravagant behaviour of Bond and instructs her to cancel Bonds mission in pursuit of Greene.
The technical team began filming in Panama at Howard Airport.
The airport is located on the outskirts of Panama City and was a base of the U.S.
Air Force until 1999.
The location was customized to serve as an airport in Bolivia where Fields receives James Bond and Mathis after landing on Bolivian soil in pursuit of Dominic Greene.
Besides filming on the streets of Panama City, the production picked two extraordinary buildings as sets for the movie.
The first was the set of the fictional Andes Grand Hotel, the hotel chosen by Bond whilst in Bolivia.
For this, the art department subjected the building of the National Institute of Culture (INAC) in Casco Viejo to a total transformation.
The building received new awnings, floors and shiny services were all installed, internally and externally.
In the film, this is the fictional hotel where James Bond hosts Agent Fields, who comes to her death in the honeymoon suite.
A two minute walk from the INAC building is The Old Union Club, an imposing ruin of what once was the most famous private club in Panama.
There were rumours that it had become the headquarters of General Noriega, the infamous dictator of Panama, and was bombed in the American invasion of 1989.
The production team took months to clear all the rubble and trash from the place before the art department came to build a lighted bar, install long curtains hang in peach-colored arches of the building and elegant white lighting.
For four nights, the team filmed the benefit event hosted by Dominic Greene.
Bond and Fields arrive at the party, where Camille is already in confrontation with Greene.
Massive renovations were made in selected locations in Colon and its surrounding area.
In order to make certain residential areas more decadent, such as the Fenix Building where Felix Leiter gives Bond information on the settlement between Greene and Medrano, the production has made extensive upgrades in the electrical and hydraulic systems to provide the security necessary for the local shooting team.
Some areas of Colon also were used in scenes set in Haiti.
Again, a huge renovation project, was implemented when Coco Solo was chosen as the location of the road in Haiti where James Bond drives while connecting to M to request that Greene is investigated.
With its row of palm trees, Coco Solo was once a beautiful and prestigious base of the U.S.
Military. Some members of the local technical team who used to visit friends living there remember the homes painted in pastel shades with their own private beaches.
When the U.S. invaded the country in 1989, the houses were abandoned and Coco Solo quickly deteriorated.
Most of the once beautiful architecture of Colon is on the decline and the Arboix Building is no exception.
This magnificent building in a pastel shade of orange in the centre of Colon was chosen to double for the Hotel Dessalines, Haiti.
In the film, its the first stop of James Bond in his mission and there is a fight sequence in one of the rooms on top of the building that has just been extended to the balcony.
A third unit for action joined the main unit in Colón to shoot the boat chase sequence, mostly around piers 3 and 6, although the final outcome of the sequence was filmed on Cabra Island, the island paradise where Bond lands with Camille in his arms.
For nearly one hundred years, the island and nearby Isla Grande were used as a cemetery.
Today, Cabra Island is a private island of 2.5 hectares full of palm trees, macaws, deer and wild butterflies.
Legend says that the lead coffin of Sir Francis Drake lies at the bottom of the coral reef that surrounds the island, situated in a famous smuggling route.
An aerial sequence was filmed in the arid mountains of Baja California, Mexico.
A technical team of 66 people, led by Second Unit Director Dan Bradley, filmed for 17 days at a small airport near the city of San Felipe.
The airport is operated by the military that maintain a strong presence in the region to prevent the action of drug traffickers.
In the sequence, Bond piloted an old DC3 plane (the model having been manufactured in 1939) and is attacked by a Marchetti Acrobatic armed with machine guns and a Huey helicopter.
For environmental and safety issues, no pyrotechnic effects could be filmed on site, so all the shots and smoke were added later as visual effects.
In the air, the aircraft had the company of an Aerostar equipped with cameras in the tail and an Astar helicopter equipped with a Spacecam.
Two teams of ground cameras covered the action, positioned in the mountains.
The locations were so remote that the technical team and equipment had to be transported there by helicopter daily.
Northern Chile provided the broad arid landscapes imagined by director Marc Forster to pass for the desert of Bolivia.
From the host hotel in the Chilean city of Antofagasta, the technical team travelled two hours every morning to reach the site of filming.
The ESO Paranal (the European Organisation for Astronomical Research in the Southern Hemisphere) was used for external shots of Perla De Las Dunas, Bolivia.
Located at an altitude of 1,800 meters, the observatory was built on top of a mountain on the border of the southern Atacama desert and gives astronomers an isolated environment free of dust and sources of illumination - the perfect atmosphere for the study of the stars.
Generally occupied by no more than 20 astronomers, the ESO observatory opened its doors to a technical team of over 300 people for the filming of a scene where Bond and Camille are on the roof of the building pursuing their opponents.
Other remote locations in Chile were used to portray the village that Bond and Camille cross on foot after they discover the secret of Greene, a deserted railway station where Bond and Camille are separated and the vast desert where Bond decides to abandon Greene.
Surrounded by a turquoise blue sea, the Tower of Talamonaccio in Tuscany, was used as Mathis home.
The private residence is a stone building that dates back to the year 1,000 AD and was originally built as a fortress to protect the centre of the country.
James Bond comes to the palace in style, aboard a classic Sunseeker boat to convince Mathis to unite himself with him for his mission in Bolivia.
The eagerly awaited opening sequence of the film was shot by the second unit over eight weeks in three different locations in Italy.
Lake Garda in northern Italy marked the start of the car chase between the Aston Martin and Alfa Romeo.
The technical team was transferred from Lake Garda to Carrara to continue filming of the chase in the midst of a 2,000 year-old marble quarry.
Several historical works were carved in marble from Carrara: the ancient Romans built the Column of Trajan and the Pantheon, and Michelangelo carved his David from this stone-white marble.
The filming of the car chase was completed in the historical centre of Siena, where images of the world famous Palio di Siena were filmed by a support unit a year earlier.
The second unit filmed the chase of Bond through Piazza Il Campo and across the roofs of the city.
The pursuit ends in an art gallery built on the 007 Stage at Pinewood Studios in the United Kingdom.
The opera scene, where Bond discovers Greene in a secret meeting with some of the worlds most powerful figures was shot over two weeks of night filming at the Bregenz Festival House, Austria.
The movie shot on the famous stage built for the 2007/08 performance of Tosca.
The current cast produced the opera on the floating stage, surrounded by Lake Constance.
More than 1,000 extras in costumes and dressed in black tie occupied part of the huge amphitheatre whose maximum capacity is 7,000 people.
Other remote locations in Chile were used to portray the village that Bond and Camille cross on foot after they discover the secret of Greene, a deserted railway station where Bond and Camille are separated and the vast desert where Bond decides to abandon Greene.
James Bond comes to the palace in style, aboard a classic Sunseeker boat to convince Mathis to unite himself with him for his mission in Bolivia.
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I NEVER DOUBTED THAT WE WOULD MAKE AN EXCELLENT FILM
Daniel Craig - James Bond
Daniel Craig reprisa o papel de James Bond depois do enorme sucesso de 007 CASINO ROYALE (CASINO ROYALE), that it marked its estréia in the paper of agent 007, in 2006.
Nor it seems that I stow far.
I became involved myself for a well bigger time of this time and already he worked in 007 QUANTUM OF SOLACE for about three months before the beginning the filmings.
A film of Bond is a gigantic part of machinery that, to be ece of fish in functioning, requires an extraordinary moment and much propulsion.
We demons the initial kick soon after the Christmas and everything started if to incase in its due places.
After the innumerable records beaten with the success of 007 CASINO ROYALE, Craig not underestimation nor a little the task that waits it.
I do not find that this film will be more easy, seems until more difficult.
A great expectation hangs on our shoulders of this time, what it can be a knife of two gumes.
We need to make a film better still.
All always comment the fact of 007 CASINO ROYALE to have been an innovation with relation to the filmografia of Bond, and this necessary film to innovate one more time.
We have in the direction Marc Forster, who is one cineasta extremely visual, and as managing of the second unit Dan Bradley, that films scenes of action in shining way and extracts of them the maximum of its potential, and the combination of these two talentos is our great trunfo: we contract the biggest artists who we could to make optimum possible Bond film.
All are very enthusiastic with the perspective to create something different.
We are giving continuity to the history of the last film, however exploring things different.
Marc (Forster) possesss a well different point of view with regard to the film and I am, personally, sufficiently empolgado with this.
007 QUANTUM OF SOLACE it is the first direct continuation of a film of the series James Bond, as Craig explains: We find that we needed to decide the points that had been hanging to the end of 007 CASINO ROYALE e also to inform the public that we are making new films of Bond.
For me, it is treated to create something that has proper life, but being joined the two films, you will have an incredible experience, therefore it will have a continuous history.
Craig elaborates concerning its professional relationship with Marc Forster: I and Marc in the demons very well as soon as in know them.
I never had doubts of that, if we in joined them and used to advantage the ideas and emotions one of the other, we would make an excellent film.
This is the main point on which we two always spoke and we are in one same tunning.
Marc is, obviously, under an uncommon pressure, on account of the expectations, the budget, the locations, the climatic changes, the list is infindável, but we need to follow ahead and we have to raise this film to a new platform and to make an independent film of the last one.
Not because we want to change some thing, and yes because it is important to keep the spirit of newness and innovation.
Marc has been firm how much to this, and I am extremely happy with the way as it dived deep.
007 QUANTUM OF SOLACE he promises to have the double of action scenes and Craig hugged the chance to train for they, aiming at to make proper it the biggest number of scenes that the production to allow.
We already start the all vapor.
The 0 variable in a film are as much as this.
In certain way, everything still is newness for me, but you need to work with security and to try to obtain the biggest possible time for the assays and the training of the action scenes.
Sets many dangerous times are complicated and, therefore we need to make right all the marks, the time all, and wait that this adds value to the end item still more.
007 QUANTUM OF SOLACE it was filmed in more countries of what any another film of the surmounting, and Craig explains why: I find that the responsibility of the films of Bond is to take the spectator the new places.
It is important to see this personage going the emotive places and in making to see them the world in a different way.
For me, when I age boy, the films of Bond carried me one another world.
It was important to know locations different and to see as the world is wonderful and diverse.
If this was the only reason to make this new film, us already was successful.
Daniel Craig integrated the process of escalação of the cast and if he remembers the search of the actress certain to interpret Camille: To find women pretty who are good actresses he can be complicated, but already to the end of the election process, Olga was perfect in the hearing, it was fantastic.
It is an excellent actress, beyond pretty, then, everything was incased.
It has a fantastic frieza and a distanciamento, that are really essential to its paper, because as much it how much Bond is in a revenge day.
They become partners the contrataste and this becomes its interesting relation still more, especially because we are retaking the history of 007 CASINO ROYALE where Bond if got passionate and was traído.
This had an enormous impact on it and is explored in this new film, then, to know one another woman and if to get passionate did not make no direction absolutely. Said this, Bond still thus has fun sufficiently with the agent Fields, interpreted for Gemma Arterton.
The personage of Gemma is excellent and it she dives deep in the personage.
It is an agent who, at a first moment, seems lost, but is more intelligent of what we imagine initially and if unites the Bond.
It hurt and is unbalanced, and there, happily, Gemma appears
The French actor, Mathieu Amalric, interpret Dominic Greene, the villain of Bond.
Mathieu is a sensational actor and the villains of Bond very need to be intelligent.
It is not a wild scientist nor an academic maluco trying to dominate the world for intermediary of science.
It is simply an aggressive man with an intellect highly developed that is using its talent to manipulate the people and if to possess of lands for the whole world while it will be able and will be alive.
It does not import who hurts, nobody will interpose itself in its way.
Mathieu esteve perfeito, ele entendeu totalmente o papel e foi fundo é isso o que queremos de um vilão Bond.
Although the arduous work, or perhaps exactly because of it, Craig if shows enthusiastic: Incrivelmente I am excited with what we made and made an impression with the volume of the work that we carry through.
We use as many locations, the film has a flaring appearance, and finds that we obtain something really special.
Or better, I know that we create something really special.
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IT IS MOTIVATED BY THE REVENGE
Olga Kurylenko - Camille
Olga Kurylenko speaks concerning the personage who it interprets in 007 QUANTUM OF SOLACE.
Camille is a young with a tragic past - because its family was deceased ahead of its eyes when it was small.
It suffered very and if she became a hard person for cause of this.
It knows the man who decimated its family and is motivated by the revenge.
Camille intelligent, is focada and adept.
It has the instruments to fight, but also she does not have fear to use its feminine charm.
In the truth, exactly for being woman it is that nobody suspicion of it.
When it knows Bond, it nor it repairs in so definitive and intent it of who is in its mission of revenge, but, to the few, it understands exactly that they walk in the same direction, that its objectives is not accurately the same ones.
I do not find that Camille is typical `Bond girl'.
It is one of only `Bond girls' in the history of the series that does not sleep with Bond!
Camille is a strong personage, it she knows what she wants and she is determined.
Kurylenko had of if submitting to an exhausting training for the sequences of action of the film, as proper it explains: Later that I read the script, I was super empolgada.
I adored the personage and adored to see to participate it of as many scenes of action.
I perceived that I would very have work with weapons and risky scenes, piloting cars, jumping in free fall, and where more I would have the chance to make this?
I trained with different people the work in each type of scene: the fights, the motor boat, the car.
The team of action scenes helped me very, everything is a learning question and them they are good professors, everything very is well explained.
In one determined occasion, in the scene of the party, Greene (interpreted for Mathieu Amalric) it would have to almost shoot me of the high one of a railing.
I have fear of height and when vi set, I thought that never he would obtain to make that - I nor obtain to go until varanda of my apartment.
But the team technique took me until up there and repasses the scene slowly.
They had been so patient that I obtained to make the scene
Kurylenko also alone has admiration and compliments stop with the director, Marc Forster: Marc is very talentoso.
I attended all the films of it and adored all they.
It is an artist and has confidence in it.
Either what it to say, I believes it, because I trust the vision of it.
It dirige in a very subtle way, is not alone the action that matters, and yes the people and what they feel.
In the paper of the co-protagonist of Daniel Craig, Kurylenko speaks concerning the work with agent 007: He is excellent to work with Daniel.
It is professional and has much concentration.
It total is focado and serious with regard to the paper, but he has an excellent sense of mood - the funny jokes of it are muitíssimo.
I believe that the success of Daniel when assuming the paper of James Bond if must to the fact of it be a great actor, but its appearance also is very important.
It has a vigorous skill másculo and.
The force of its look is incredible.
I could feel this in a scene where it looked at for me and seemed to beach a ship me with its eyes - it is a very powerful look.
Kurylenko also divides a long time in scene with the adversary of Bond in the film, Dominic Greene, interpreted for Mathieu Amalric: Mathieu also is very careful with regard to its personage.
The way is brilliant as it prevents the cliche, opting to not following the way most easy.
It does not interpret a villain in obvious way.
It is worried in disfarçar this, and I adore I work of it, therefore its villain is really appalling.
Greene is very shy, very gentile and subtle e, suddenly, it occasions and of the one machete blow in its coasts.
Mathieu is really making an excellent work.
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SHE WILL BE ONE FIGHT BETWEEN TWO ANIMALS
Mathieu Amalric - Dominic Greene
Mathieu Amalric speaks concerning as `villainous of Bond' was modernized with its personage, Dominic Greene.
What it pleases me in the personage, and me seems an excellent idea, it is that it has a Greene in public and one another Greene in particular.
The face is shy in public, does not speak high, does not have much nimbleness speaking ahead of an auditorium, but, in particular, it it is total different.
It tries to kill Camille, therefore he finds that it is using it for its personal revenge.
Soon of face, I asked to the director if I could scrape the head, or to have a scar or an eye that bleeds, any thing that helped me, and it said: `Not, its eyes already will be the sufficient'.
Then, I had to ask to me: `What it makes of a citizen a villain' It cannot be only the people fancy insane person who wants to destroy the world, is not this.
Então, o impulso precisa ser psicológico.
If the personage will be more for whom she is trying to disappear, that she wants to be invisible, that she almost wants to be a wall paper, this makes more direction, because she is well more efficient thus.
Unhappyly, nowadays, it is well more difficult to identify who are the villains in our lives, and is accurately this what we search.
Moreover, I taste of the fact of Greene to have aversion for blood.
The violence is abstract and this also has to see with the world of today, where if it can make everything for intermediary of the computers.
Since 007 CASINO ROYALE (CASINO ROYALE), they had changed a little the texture of the films of Bond, having looked for something that has more relation with the current times and either more representative of the world where we live.
Concerning the work with the director, Marc Forster, Amalric observes: Marc total is syntonized with its personal vision of the film and is concrete the alchemy that it searchs.
For example, to the times, it it likes to make two consecutive taking without camera cuts, to allow a bigger delivery of the actors, without in such a way control.
I find that it searchs to more catch something in our face expression or a moment of action.
But, to the end, I find that it looks a bigger realism.
He is excellent to work with Marc because it really adores the actors.
For example, I did not understand I eat I was possible I to become a villain of a film of James Bond, but I find that she is because necessary Marc if to feel inhaled by its actors.
It likes them people who it films, people feel this in its previous films, and I have the certainty of that he was because of the Marc who I was scaled.
To work as actor already it is surprising for me, a time that during most of my life, I directed films.
I never thought about becoming actor, but he has something of challenger in if using its body integrally.
I adore the fact to feel fear.
To be scaled as villainous of a film of Bond is, in part, a great joke and, on the other hand, an enormous pleasure.
I did not wait that my life brought me as many surprises.
In the skin of the adversary of Bond in the film, Amalric shares some scenes with Daniel Craig, but for it, most emotive it is the fight between Greene and agent 007.
I have much luck, because, in general, the villains never fight.
But in this film, I have an excellent scene of fight with Daniel in the end.
Greene does not know to fight, then James Bond is surpreso, therefore it is not the type of classic fight for which it was trained.
It will be a fight between two animals.
Amalric also shares some scenes with the co-protagonist, Olga Kurylenko, and them they had developed together its respective personages.
I adore to work in this film for if dealing with a workmanship in progress, where we develop it to the measure where we assay.
With Olga, it has something so obvious between us that, for me, it is a pleasure.
I do not need to act, only necessary to believe that everything that is together truth and us we look the way.
As all good actor, it it cannot interpret alone.
It, as well as I, very is empolgada by being here and loves the physical training and learning some new things, as to direct an car to the all speed and to fight, abilities that can very be useful in the life.
The personages of Greene and Camille live lying one for the other and for that they surround them.
We need to think as this if it would give in the real life: to lie so convincingly that until you yourselves it arrives to believe, since its life depends on this.
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WE GO TO COUNT AN EXTRAORDINARY HISTORY
Judi Dench - M
Judi Dench reprisa the paper of `M', the head of the MI6 and James Bond.
He is fantastic to be in return, is simply wonderful!
To work with Marc [Forster] has been absolutely fantastic.
It accurately knows what he wants and when we receive our cronograma from work, it comes folloied of a list of taking, thing that I never had before.
It is sensational.
He is wonderful to work with this type of disciplines.
Dench incarnated for the first time the paper of the head of agent 007 in 007 Against GoldenEye (GoldenEye), when Pierce Brosnan made its estréia in the paper of Bond.
007 QUANTUM OF SOLACE it is its as film with Daniel Craig as Bond, and it it comments concerning the work with the colleague: Daniel is more relaxed now, even so seems to make use of an infinite dose of energy to loan to the personage.
It is a magnificent Bond, simply magnificent.
The thing most wonderful is to have the open mind so that the things can in surprising them or empolgar.
Our business is to count histories and goes to count an extraordinary history.
Although if it has become famous in the entire world as star of great successes of the cinema, are in the theater that Dench if really feels in house.
The theater is where I feel more to the will.
I have 51 years of performance in the theater, that is something that I love.
In the truth, I started late in the cinema.
I had made few films before Its Majesty - Mrs.
Brown (Mrs Brown).
Mrs Brown it was the film that changed everything e, suddenly, I I came back to America after a hiato of 38 years.
The people asked to me: `Beyond Mrs Brown and of M, you made plus some another thing' E immediately I thought that all my classic repertoire had disappeared and been reduced leached ashes, nobody I had I heard to speak in it!
I do not know if I have a bigger number of fans, but my name if became familiar next to an entirely new public, as my grandsons, and, in some cases, the parents of them.
Eu espero que os jovens freqüentem o teatro, minha função é atrair público para o teatro, porque as pessoas já vão ao cinema de qualquer jeito.
I adore the auditorium of the theater and if the people in see them in a film of Bond, them can feel themselves persuaded to go to see another thing.
Said this, Dench always is had fun reincarnating the personage `M'.
I taste very of it, is simply irresistible!
[In 007 QUANTUM OF SOLACE] the spectators go to more know a little on `M'.
Already we know it a little better in 007 CASINO ROYALE (CASINO ROYALE) e more still in this film, especially the development of its relation and its interaction with Bond.
The way is interesting as it deals with it and as it deals with it.
It is not 100% insurance with relation the Bond, is not certain if she can trust it fully.
Moreover, the MI6 if sophisticated substantially.
Everything what necessary to say it is that I do not believe that our government makes use of resources to transform the MI6 into my MI6.
I doubt that they have conditions to make this.
Something is sensational, nor uses more telephones
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ITS LIFE FINISHES TO MOVE FOREVER
Gemma Arterton - Agent Fields
Gemma Arterton speaks concerning its personage, the agent Fields, and on what it differentiates it of the typical one femme fatal generally associated to the films of Bond.
The agent Fields works for the MI6.
It tries to be professional and if she takes the serious one very, but she is ingenuous, what she becomes it a funny personage.
Fields if judges capable to control Bond and constructs false impersonation, but it soon pulls down, then she has something of very real in it.
Fields is not one femme fatal, a powerful and beautiful woman, it are sufficiently natural and somebody with who you can identify yourself.
Arterton had to film the scene of its death in its first day in set, and it speaks concerning this experience.
Fields is assassinated by the outlaws.
It looks for to save Bond distracting them, but they know that she was it and they kill it drowned in oil.
It is found naked in the bed that had shared with James Bond in the previous night.
The filming of this scene was brilliant, even so has been one in such a way stranger.
I was taken to set e dived in oil and I needed to be there for almost two hours.
I did not obtain to move myself, did not enxergava nothing, did not obtain to breathe right nor to hear nothing, because the oil entered in my ears.
At that moment, I found that something was well ackward, but later I thought that this is something which forever I go to remember and that it will be a icônica part of the film.
Just-exit of the course of Scenic Arts, Arterton describes what it happened when it knew that she had conquered the paper: When I made my test of camera, I found that it had IDO very badly.
Then, some weeks later, I was twirling a film in the way it sea, in Gibraltar, filming with a diving equipment, when I received a linking from my agent cantarolando the subject of James Bond for the telephone.
I never go to forget.
My colleague of scene if capsized for me with tears in the eyes and said, `This is a marcante moment in its life.
Its life finishes to move forever and I was present when this happened'.
Thinking about this now, the way of my test, `Nobody Does It Better' he touched in the radio of my car, then I find that he was something that was predestined.
The difference between working in a film of Bond and in excessively is the time of that we make use.
It has an enormous attention to each detail.
In a film of Bond, one day entire is dedicated to an only scene, to guarantee that it has left perfect.
All are best in what they make, then, I were sufficiently distrustful, since I am new in everything this.
Michael and Barbara [ the producers] are wonderful.
A film of Bond is surrounded of great expectations and them they know how much this can be intimidante.
They understand this and in they support them.
Whenever they saw me paralyzed, them they looked for to encourage to me, to give security to me, what it very facilitated to the work of all the involved ones.
Beyond the support of the producers, Arterton if felt insurance at the hands of the director, Marc Forster.
Marc understands well what she is to be actor, she is experienced and she very trusts all we.
It believes our talent and that we know what we are making with our personages.
Marc in the ones of the freedom to make our work and adjusts our performance.
It does not need to speak excessively to obtain what he wants, it says only one thing, in the fly.
To the end, it he has a great confidence in all we and you feel that she is in good hands.
Louise Frogley, the figurinista, made question to count on the participation of Arterton in the choice of the wardrobe adjusted for Fields.
I wise person do not eat I would be my figurinos - originally, they wanted that my appearance was careta and composed well, but we also wanted to give to my personage a wild and irreverent air that reflected the personage, who tries to be something that it is not capable to support.
In one determined scene, it it dresses one trench coat, but it does not use nothing underneath.
That is, it seems to be arranged well, but she is vulgar at the same time!
The same thing happens with the figurino of the party, then, the style of my wardrobe is perfect for my personage.
My dress of the party is pretty, well to the style Audrey Hepburn, but he is something that Bond had bought for me, then really is of good quality.
It is a Prada that falls me as a glove.
It has a great bow in the front, is deloused, but he is well attractive.
The choice of the figurinos well was amused.
I find that Marc had well defined ideas, as well as everybody has an idea of as they find that a Bond Girl he must be, but I made question that my personage had an original and realistic appearance.
Very he was amused to try all those clothes, and in the choice of the dress, the staff of the department of figurinos spoke in cutting some pieces of the dress of a side and amending others of another one - and inside of my head, I cried out: Mas é um Prada! Até no meu teste de câmera eu usei um vestido Dolce & Gabbana que eles cortaram para ajustar ao meu tamanho e olha que era apenas o teste de câmera!
To work with Daniel Craig was one of the high points for Arterton.
Daniel was shining, it is really one legal face.
Of beginning, I was very nervous, because I had seen it in 007 CASINO ROYALE (CASINO ROYALE), but when you know it, it is very sensible, generous, and us we laugh very.
He has been excellent.
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WE FORM A PAIR OF THE OPPOSITES
Anatole Taubman - Elvis
Elvis is the right arm of Dominic Greene, and Anatole Taubman if she strengtove to develop a personage whom if she differentiated of the too much body guards of other films of Bond.
What he pleases me in the film is to have a clear-cut format in the script, but Marc very is opened and in the ones of the freedom to develop the personage still more.
It has its vision, but he invites other artists to help it to give it to it form, then, all we have a creative participation.
I want to create possible the most irascible and interesting Elvis.
I suggested a wig to the style of hair of monges and Marc agreed.
Then, defined the head of the Elvis, the department of figurinos contributes with another characteristic.
From there, the maquiagem department adds plus a layer, and all has this interchange in the development of the personage.
It is a workmanship in progress and, in the first day of filming, the Elvis was created.
Elvis is the partner of Dominic Greene for the good or the evil, depending on the situation.
The problem of the Elvis is that it had a difficult past and always needed to fight for everything, in material terms.
Greene, a rich and influential man, placed it under its protection and, of one hour for another one, Elvis if she saw wearing the best clothes.
It is great `fashionista', it adores clothes, but he always has something of made a mistake with its appearance, something bizarro, stranger - what it is a consequence of its personage.
Elvis is the escudeiro more loyal than any head could desire, but she is not very intelligent, it he is half dull and one in such a way disfigured.
Anatole contrascene with Daniel Craig in some scenes and has a deep respect for it as actor.
I find that it was a brilliant decision of the team of Bond to scale an actor of the bore of Daniel Craig to be the new James Bond.
Necessary Daniel sufficiently to be disciplined not only in the screens, but also in its free time.
It is very professional e, considering itself all the pressure the one that must be submitted, it continues humble and accessible.
I have an enormous respect for it.
Taubman folloied the characterization of Greene on the part of Mathieu Amalric with great interest.
Mathieu makes an excellent work, therefore a villain is more interesting when you search to reinventar it in each scene so that it is not previsible.
It is a shy, reserved and highly complex psychopath who badly obtains to face its adversaries.
Greene closes businesses millionaire, negotiates with governments, the CIA, MI6, playing ones against the others.
Mathieu interprets it in a well contained way.
Until in the end, it if it becomes one pitbull, a raging and wild animal as a child who loses the control, and everything what it wants is to finish with the life of Bond.
Then, of this reserved citizen, this energy appears insane and explosive - it is a fantastic line of work.
The team and the cast had made innumerable trips during the six months of filming, what Taubman entusiasmou.
For me, it is what it has of better in the life.
I adore to travel, to know places, new people and cultures new, and have made this I have years.
Panama was wonderful, everything is possible there.
You travel 1,5h until Colón, and know a world completely different: a declining, dirty, very poor place.
That is, it is a rich in diversity , but very interesting country.
The fact of terms filmed there created many chances of job and the visibility to the country.
They feel pride in having a mark as Bond attracting the attention on them.
I talked with some places and feedback he was sufficiently positive.
When asked to which it considers the high point of the filmings of 007 QUANTUM OF SOLACE, Taubman answers without hesitating: To know Mathieu [Amalric].
It genuinely is illuminated, a true inspiration, is very cultured, understands on photograph, literature
I feel I eat if I had made an intensive course on cultural history and politics of France.
It was a true gift to make a new friend.
We form a pair of the opposites in the film, and also it are of the screens.
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AT SOME MOMENT IN THE LIFE, ALL WE ALREADY WERE TRAÍDOS
Marc Forster - Managing
007 QUANTUM OF SOLACE it is the first film of James Bond de Marc Forster.
It explains why the project attracted it.
For me, [Bond was a well difficult decision to make a film of the surmounting], for if dealing with something so different of everything what I made before.
When you dirige a long one of Bond, go to inside make a film of certain preset parameters.
It has diverse aspects in one 007 that they cannot lack: Bond, the women, the carrões, the history and millions of fans, and this represented an extraordinary chance for me.
I was empolgado with the possibility to find a way creative to inside count to this history of these parameters and wise person who would be a great challenge.
It was accurately this challenge what more it attracted me.
The thundering success of 007 CASSINO ROYALE (CASINO ROYALE) it implies in one another challenge, continues Forster.
007 CASINO ROYALE she made an enormous success, and because of this, the people have still bigger expectations.
I found that the first films of Bond of years 60 (with Sean Connery in the paper of Bond e sets created for Ken Adam) they were to the front of its time in terms of the drawing of production, the locations and its appearance, and was this what it served me of inspiration.
I perceived that I had space to create a new visual style for the Bond surmounting. Forster contracted the production tracer awardee with Oscar®, Dennis Gassner, to help it to materialize it the vision of it.
One of the reasons that had taken me to want to work with Dennis was because it creates appearances that never had been seen previously, in films as THE TRUMAN SHOW, e in its work with the Coen brothers.
All its sets they had been created with a estilística vision of great force, what it was essential to the universe of Bond.
The other great attractive one was the chance to work with Daniel.
It is a very interesting actor.
Psychologically, it brought in return the realism to the films of Bond.
He is not an unattachable hero, it has defects.
It possesss a vulnerability and an emotional complexity that become it human being.
Many of my previous films emotionally present restrained personages.
When you analyze people who do not obtain to state what they feel, they are emotionally deficient.
I am interested myself thus for personages, because he is about a common illness in the humanity.
In the end of the accounts, if you obtain to open its heart for the world, you if she becomes a more sensible and conscientious person.
Our limitations always in send them to our incapacity of in stating them emotionally, and Bond is the perfect example of this.
Bond not yet wise person, of fact, what was to love until knowing Vesper [in 007 CASINO ROYALE] and this love was taken off to it.
Judging to have been traído, it is one in such a way disoriented one and if he becomes incapable to trust any person.
For me, the central subject of 007 QUANTUM OF SOLACE it is the confidence.
Having in its resume a series of films praised for the critical one moved for complex personages, Forster speaks about of its experience directing an action super-production.
To think about directing a action film he was much more frightful of what, in fact, dirigiz it.
In these productions of action, you it counts on an excellent system of support and a team with much experience in the sort.
To plan and to write a action film are more difficult of what filming it.
The secret of one action film is in its narrative, because to film scenes of action for the action in itself he is uninteresting and it does not contribute for nothing.
007 QUANTUM OF SOLACE it was filmed in more exotic locations of that any one of the too much Bond films in the 46 years in the history of the surmounting and Marc Forster was the incentivador greater of this decision.
Exotic Locations already are the registered mark of the films of James Bond.
They are crucial in the direction to help to carry the public to a different world.
It is difficult to find locations for Bond, therefore the standards are higher and the world is if becoming each lesser time.
We also needed to find locations that reflected the state psychological of Bond.
For example, one of the reasons that made me to choose the desert was because it represents the solitude and the isolation - it represents the state of spirit of Bond.
Olga Kurylenko was scaled to interpret Camille, a vulnerable, however dangerous woman, determined to avenge the murder of its family.
I looked somebody that I was the feminine counterpoint of Bond, fighting with similar questions.
Olga understood the psychological and physical aspects of the personage.
As mega had never acted in one action production before, it needed to pass for a rigorous training and carried through same it many of the risky scenes, what she was crucial to become the possible most realistic film.
The French actor Mathieu Amalric interprets Dominic Greene, but he is not about estereótipo of the Bond villain.
Mathieu is a very special actor, with a reserved and irresistible skill.
I found that it would be well more interesting to scale a man of innocent appearance to live a personage who is, in fact, frightful and dangerous.
Throughout all the film, people pressente and glimpse the true essence of the personage, but she is in the final sequence that its true nature is disclosed, and we see as it can be maldoso and frightful.
During the period of the cold war, the cinema occidental person had a clear image of what it was the good or the evil.
Today, however, these limits if confuse.
People do not know plus who are the villains.
Bond could have abominable traces.
I believe that it is important to examine this.
What it really means to be good or bad?
What it means to kill or to lose somebody?
Which is the psychological impact of taking off the life of somebody
Judi Dench is welcome in its return in the paper of `M', the head of the M16.
Segundo Forster, Judi is one of the biggest alive actresses.
To work with somebody of the bore of Judi is an honor.
It has a so strong presence that I wanted to develop the personage still more.
`M' is the only woman who Bond not enxerga inside of a sexual context, then, is important to give to the two more time together.
Observing the interaction between them, we discover a different side of Bond and learn more on both.
Forster summarizes: Permeia the central subject that 007 QUANTUM OF SOLACE it is the confidence.
The confidence can assume innumerable different forms.
Who we really trust?
You trust itself exactly?
We trust the others?
All the people have questions related to the confidence, therefore at some moment in the life, all we already were traídos.
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We do not believe that rules exist
Michael G.
Wilson and Barbara Broccoli - Producing
Michael Wilson and Barbara Broccoli comments as the personage James Bond if he developed since the last film.
In 007 CASINO ROYALE (CASINO ROYALE), Bond was emotional and deeply hurt and it it needed to surpass the traumatic experience that had with Vesper.
Bond recognizes that it cannot abandon the private service nor find the love in the normal direction of the word, forming a family nor nothing seemed.
It is imprisoned to its work and its world is dangerous and violent excessively to be shared with another person.
Bond does not want to be vulnerable the blackmails nor wants to put another people under the risk of being chantageada.
007 QUANTUM OF SOLACE one hour after the end starts of 007 CASINO ROYALE e marks the first time in the surmounting of Bond that two films are twirled in a direct sequence.
Wilson comments: We do not believe that relative rules to the way exist as the surmounting we are managed.
We already insert references to a film in another one, but of this time, this seemed to be a natural thing, a time that as many questions had been without reply in the end of 007 CASINO ROYALE.
E we find that our public will be interested in the answers.
The producers speak concerning the success of 007 CASINO ROYALE e why they had found that it was the alias process to come back to the beginning of the career of Bond, presenting Daniel Craig in the paper of agent 007.
No longer first test of camera that Daniel [Craig] made for we, we had the certainty of that it would be a great Bond.
To start, it was pretty, sufficient másculo and if he keeps in an excellent physical form - all the prerequisite ones for the paper.
Moreover, it is an excellent actor.
E this is what it really matters above of everything.
It of the account of the message.
It is probably optimum actor of its generation in the United kingdom, if not in the world.
Therefore, we had much luck for it to have if seen in the paper and if to show made use to accept it.
In according to place, the narrative was taken off directly of the workmanship of Ian Fleming and, therefore, it had an excellent structure.
I find that whenever we make a new film with a new Bond or when we take the film in a different direction, we never have much certainty if the film will be popular.
Obviously, she is rewarding when it becomes popular, but people never know the success that it will make until this happens.
Now, we want to duplicate the success of 007 CASINO ROYALE e to surpass it.
As much Wilson how much Broccoli likes to work with Craig.
It charming, is amused, loyal and gotten passionate - all the characteristics that if find in a great actor.
Daniel really likes to make these films, it if he dedicates they of body and soul and extremely is applied and serious with regard to its work.
In 007 CASINO ROYALE, it was exploring the personage and, since then, he acquired much more security, then, now he is interpreting Bond with more confidence and a certainty that is fruit of this security.
The creative suggestions of it are welcome, therefore it understands well the personage very and, therefore, in everything what he is mentioned to the script and that he affects the personage of James Bond, it if he involves the deep e, then, its contributions are very important.
It is the first time that Wilson and Broccoli work with cineasta awardee, Marc Forster, and them they had been made an impression with its methods.
Marc is the director most prepared with who we already works.
It has programmed all sets e locations and works with the cinegrafista of the illumination [Robert Schaefer] in the mapping of all the taking, detailing where the camera will have to be located in each sequence.
Everything this is made at the beginning of the film for the entire film and it if it abides by the plan.
Its first assistant, Michael Lerman, also extremely is well prepared and prepares a cronograma of the taking with the time that each one will demand of hour in hour, with the objective of each day.
He is incredible to see them working together.
The producers had supposedly filmed the last scenes in Haiti and in Bolivia in locations in Panama and Chile, Wilson explains.
It is very easy to work in Panama - it is a place of easy access, has the appropriate style of life, the people say to English fluente and the infrastructure of the country is good, not necessarily for filmings, but in all the other aspects: hotels, transports, etc.
In this film in particular, us we needed some locations and, happily, the City of Panama and Colón enters, us could film Haiti in such a way how much Bolivia, then, this seemed the method most efficient to plan the film.
The producers explain the meaning of 007 QUANTUM OF SOLACE e its relevance in the script: The heading came originally of a story of Ian Fleming and, in that context, it meant a relationship that could not be recouped, unless it has one `quantum of solace' between both the parts.
`Quantum' it means `a great amount' and `solace' it means `consolation', `comfort'.
Therefore, to less than they they are made use to share this, the relation between them cannot be recouped.
In ours in case that, it wants to say two things: Bond is looking to one `portion of consolation' after its experiences in 007 CASINO ROYALE, and `Quantum', by chance, also is the name of the criminal organization of the film.
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WE WILL RAISE IT TO A NEW PLATFORM
Dennis Gassner - Tracer of Production
Dennis Gassner was convoked by Marc Forster (Managing) to enrich 007 QUANTUM OF SOLACE with its drawing of inconfundível and full production of style.
Gassner describes its first contact: When I was to find me with Marc, folloied of Michael and Barbara [the producers], I had attended films of it e, as person, it was wonderful.
I found in it a twin soul, somebody full thing of life, energy and delicate and very sensible, accurately as I also am.
We in identify them immediately, and when two people if identify emotionally, you know that the work goes to flow well, and were thus.
Necessary people to follow our instincts.
I follow mine in all the aspects of as drawing my films, I always react emotionally to the things.
I am always the first person to go to see the film, then, if I feel that it is is good, I wait that it seems good for the remaining portion of the public, this I am my method.
Gassner entered for the team still in the beginning of the daily pay-production and explains as the drawing of a project of the magnitude started of 007 QUANTUM OF SOLACE: When I started my I work, I by the film as a blank screen.
I asked for to the Marc who me of this something which to become attached me, we needed to find some thing, a basic rock.
When this occurred me, was so obvious - he was Daniel.
It is our James Bond.
It was the third occasion where I worked with Daniel, and even so it has moved and evolved as actor, a thing remained consistent - a fantastic face;
It is angular and clear-cut, it he has excellent textures and, is clearly, those penetrating blue eyes.
From that moment, us we start to create the language and we construct everything from then on, combining the taste of the Marc with mine in fantastic textures.
If you to analyze the film, it are repleto of this, stuffed of minimum and gigantic elements, creating this tessitura that involves Daniel.
Pressured to choose its favourite location, Gassner cites set of the ESO Paranal the 2,000 meters of altitude in the desert of Atacama.
I find that I would have of being the ESO Hotel, in Chile.
It is the location most remote where we work and it arrived me in a very fortuitous way.
We were looking for desert for the world and the Atacama appeared in a colloquy, then I was to search online.
The first page of the Internet on the Atacama had a minimum photograph of the ESO hotel and it it jumped ahead of my eyes.
I was here in London, Marc I was in THERE ahead of computer of it e, five minutes later, it bound and said to me, `Achamos, am this!
'
The choice of Chile as location was a concern for the production, in terms of the budget, but Gassner and Forster were confident of that it was the made right decision.
This essential age to the production of the film, and who knows the challenges that we will face in the next one or in the film that will be followed to the next one.
When we analyze the description of these films [Bond], they had always looked for to stimulate the spectators in diverse ways and this film is not no exception.
We will raise it to a new platform.
The building of the ESO Paranal has a air reminiscente of sets of the films of Bond of the decade of 60, according to Gassner.
I did not choose the ESO Hotel because of the cupola, what he sends to that sensational scene of 007 Against the Satanic Dr.
In (Dr In); simply the case was this.
I am satisfied, because I adore that scene, but I was not a conscientious choice.
I was simply trying to decide my problems.
We have the time in mind all the history of Bond, but it was an extra motivation to know that we were taking the decisions certain.
Michael G.
Wilson and Barbara Broccoli are the producers that had inherited the legacy of Bond of its father, Cubby Broccoli, in 1995, and had ahead taken the surmounting with a success each bigger time.
Gassner liked the experience to work with them.
History is excellent and has the biggest respect for Michael and Barbara, with who is excellent to work.
They are curious, interested parties, are always gifts, in they leave them to make our work and they make the appropriate questions.
She is a great family, and it is important that it is thus in this type of film.
One of sets more impressive of the film she is the quarter-general of the MI6.
Gassner projected sofisticadíssimo nervous center of the private service as much light and glasses.
I surpassed the limits to modernize the MI6.
In CASINO, I felt that Judi I was in a place that was as a bridge enters the old world of `M' and the world of Bond, and I I wanted to modernize the personage, I I wanted it using a computer.
The voice of it is the inconfundível identity of the MI6;
Its is the supreme order.
I decided that it I must have one `intelligent wall' whose equipment would be activated by the voice of it, to command and to control its world.
This if became an amused image to be explored.
I wanted that the personage if felt fort and in the command, but still I continued being the Judi, then, it keeps a certain smoothness.
For example, we construct the room of the house of `M', that she was modern, but with a soft illumination and discrete decoration.
We respect the past of it, but we wanted to become the personage most sophisticated.
At the beginning from the daily pay-production, Gassner received a phone call of Daniel Craig.
Barbarous it passed me the telephone and he was Daniel of the other side of the line.
It said: `Dennis, I am so satisfied for you to be in the film.
I wanted to say a thing to it.
I want that you he takes off the gloves and he gives everything of itself until the meetings of its fingers to bleed.' The phrase was in the mind of Gassner throughout all the film.
He was excellent to work with it of new.
What it pleases me in the Daniel is that it of the everything of itself in the paper and is always searching the truth of the personage.
E is this what I always am trying to make, to search the truth of the personage and, waits, that everything makes sensible.
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WITH AN ACTOR AS DANIEL, YOU IT CAN USE ANY THING
Louise Frogley - Figurinista
Louise Frogley comments concerning the work with Marc Forster, the director, in the creation of the adjusted figurinos stops 007 QUANTUM OF SOLACE.
I never had worked with Marc before, then, I I had to discover the taste of it, so that the figurinos pleased it.
I showed it everything what I made since the beginning;
E continued sharing everything with it until understanding what it wanted.
It has an enormous respect for the professionals who work with it and is receptive to our ideas.
Our suggestions give it an idea what it would like and we can continue to leave of this.
It is a sufficiently emotive experience.
The famous estilista Tom Ford was chosen as supplying of all the tender ones of Bond in 007 QUANTUM OF SOLACE.
We arrive at the name of Tom Ford for the tender ones of Daniel, because we wanted parts of would alfaiataria very elegant, extremely cut well, and Tom Ford uses the prestigious Fatory, in Italy.
I wanted something that I was pretty and elegant, and in I sent them to the type of tender that Sean Connery used in the first films of Bond.
I consider Tom Ford a genius, it I am the maximum.
It understood which was our necessities and is therefore that I wanted to use it.
The team of it did not save efforts to take care of to our order and it ordered somebody to Italy to only search a specific material for us.
I wanted that the tender ones were confectioned in `to mohair tonic'.
Something is very difficult to be found, therefore he is one fabric of the decade of 60, and I have certainty of that almost Sean Connery used it in at least one of its tender ones.
He is material a well strange one, but he is pretty in the screens, is simply the holy ghost.
We not only request a material sufficiently rare, but we request it in an enormous amount, because we needed to confection some tender ones.
E Tom Ford found it for we.
The tender ones of Daniel in the film have one very specific cut.
They are tender to be used without belts;
The waist brings adjustments in cós lateral.
E the waist is higher, the pants have the legs narrowest and they do not have folds.
The coats have a simple abotoamento, narrow lapels and narrow shoulders in the possible measure do for a muscular man as it is the case of Daniel.
They have the well accented waist and slightly go if opening until the bar of the coat, for giving more movement to them.
They create a divine silhouette.
Frogley explains its boarding in a production of these ratios, with as many locations to be led in account: First, you need to read the script and to decide how many figurino exchanges have for each personage.
Later, what it will happen with the personage while it/it will be using each figurino.
Em alguns casos, Bond passava até 24 horas vestindo a mesma roupa enquanto sobrevivia a uma explosão, era lançado de um avião e se perdia no deserto.
I need to foresee the appearance that the figurinos will have later that certain events to occur, but without still they have been filmed.
It is a in such a way delicate balance one - to errarmos the hand, for more or less, does not function.
I revise everything with the coordinator of action scenes and make the maximum of research on what he will possibly happen with the suits.
This is very important in the characterization of all history - the more information you to congregate, more prepared will be for its work.
To work with Daniel he is excellent, because it knows the body of it incrivelmente and knows well when something falls to it well.
It better does not have nothing of what an actor thus.
I dressed it with a Y-3 jacket and it it was sensational - wise person of this and I also.
Later, I dressed it with a pair of pants in Staypress fabric, whose caimento was perfect.
Many times we dress actors and them they are well, but he has occasions where we have parts that they are sensational, and with an actor as Daniel, you can use any thing.
For the scene of the party in Panama, Louise Frogley wanted a visual contemporary for Camille (interpreted for Olga Kurylenko) and for the agent Fields (Gemma Arterton).
We dress both the women in Prada for the scene of the party.
We do not close no contract with the Prada, simply we happened.
The dresses were very simple, however elegant, and were perfect for the personages and the appearance that I wanted. The personage of necessary Olga to jump of an airplane with the dress that it uses in the glamourosa beneficient party of Greene.
The principle, Frogley and its team had thought about vestiz it with one terninho, but the appearance did not seem correct for Frogley.
I perceived that we were selecting the figurinos in accordance with the action scenes and found that we were putting the wagon ahead of the oxen.
All had been left to lead for a type of figurino, but when we analyze it with more attention, us in we question them because we were drawing one I finish of long sleeves for a glamourosa party in a country where it makes heat - it did not make no direction.
Then, to the end, Camille appears to the party using fantastic black a Prada dress, NOT one terninho
Frogley describes as it uses the wardrobe to add other levels of reading to the narrative, being chosen figurinos that they reflect each personage.
I wanted that the villains were eccentric, but not intrusivos.
If you to repair in the clothes of them, they are a little different, but they do not have nothing of very aggressive.
With Anatole [Taubman], I used a medallion of the mark Chrome Hearts for its personage, Elvis.
In such a way frightful one is a chromed doll one.
Anatole adored it and I find that, in certain way, it he helped to construct to the personage Elvis.
007 QUANTUM OF SOLACE it was filmed in more locations of what any another film of Bond until today, with set monumental in each place.
Frogley explains as it faced the challenge.
First, you need to know who vestment accurately what and when, and there you go making its choices behind onward.
You see what she is lacking, where you are the holes.
When you work in locations, you need to decide you will be yourself capable to fill the gaps in the proper countries where she is filming.
I always have what I call `the ship-mother' of plantão in England, that can send me materials, if necessary.
Em 007 QUANTUM OF SOLACE, I obtained to find pretty dresses habillé in Panama, that had been used in the scenes of the Opera Coarse, in Bregenz, Austria.
The Panamanians very like to leave at night, but they do not want to spend much money, then, it was the ideal place to find these dresses.
Later, I added plus some dresses of the Angels, of London, combined them and find that everything functioned very well.
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WHENEVER SOMEBODY GRASPS THE ARM OF THE ARMCHAIR OF THE CINEMA OR IF INCLINES FOR ONE OF THE SIDES, I FEELS VICTORIOUS PERSON
DAN BRADLEY - Director of 2 Unit
Having started its career as dublê, the one that does not lack to the Dan Bradley is experience in action productions and it already it wrote and it directed some of the more revolutionary sequences of action of recent history.
007 QUANTUM OF SOLACE it is the first Bond film de Bradley.
When they had bound me for the interview for the film of Bond, I did not obtain nor to believe.
Immediately, I incarnated dublê of 20 years that I had been 30 years behind and, even so I I had finished to conclude mine sixth consecutive film and I was wild for vacations, I never I would lose the chance to work in 22º film of Bond.
One of the things that much people do not know is that I write most of the action scenes that I film.
Then, the first thing that I asked to the Marc was if it would import if I of these suggestions for the described action in the script.
Happily, it liked everything very that I had imagined.
Through this process, us quickly we discover that we had similar ideas for the scenes of action of the film.
One of the things in which I really believe is that we do not have to try to make that everything minutely seems planned.
I always say my team that I want the sensation of that demons luck in testifying a scene risky insane person and.
I do not want that it seems the scene of a film, where everything I am presented with perfection the spectators.
Dan Bradley passed two months with 2ª unit in Italy, filming the automobile persecution and the persecution on the roofs.
I adored to film in Italy, the locations I was flaring, but he has a price if to pay for all that spectacular scene and I paid it in grayish hair.
The logistic one of if closing roads in mountains and entorno of lakes meant that, frequently, we made use of a time limited in the streets to film our taking.
E automobile persecutions demands time, much time, and the more fast you to want to pilot, more time is necessary.
Then, my ambition many times lost ugly for my reality.
I adore the moment where Bond loses the door of the driver of the Aston Martin.
I never vi nothing equal in an automobile persecution.
In the way of the persecution, the door of Bond is pulled out, and to leave from there, each car that exceeds it, each detonation that is made in its direction, has the potential each bigger time to represent the end of the life of Bond.
I adore this, adore what in he propitiates them in narrative terms and of the threat that represents for Bond.
I am always trying new ways of desconstruir the action so that it seems spontaneous and really dangerous, when, in the reality, everything minute and is carefully coreografado and assayed for our total security.
I was very impressed with Daniel Craig.
It is, obviously, a talentoso and skillful actor, but he has fantastic ethics of work and is made use to make almost everything to obtain a good taking, including its proper risky scenes.
In the persecution through the roofs of Siena, he had some jumps on streets and alleys, to a height of 4 the 5 floors, and Daniel carried through all they.
It arrived until jumping through a window, falling down disastrously from a high place 6m on the ceiling of a bus to all speed.
It is impressive.
I want to awake emotional reactions and visceral in the public and alone I obtain this through a minute evaluation to take my decisions, taken the taking.
It is not easy and very of what I make it demands that the team thinks and acts outside of the normal parameters.
If something me to excessively seem familiar , I soon uncover myself looking a different boarding.
I want that each taking pass for the bolter of my instincts.
It produces some effect in me?
It seems enough dangerous?
It seems planned or artificial in excess?
We can be faster
Everything needs to go slightly against our common-sense.
Everything needs to be safe, but `does not have to seem' safe.
We need to be capable `to see', but one will be easy excessively of if `to see', for me, seems assayed.
I do not want that the public has a passive experience in the cinema.
I am made use to everything to provoke them subversively to have an active participation.
Whenever somebody grasps the arm of the armchair of the cinema or if inclines for one of the sides to try to see something better, I feels victorious person.
That person is not only plus a spectator in the auditorium;
It is a participant.
It is a simply incredible experience to be part of a Bond film.
After all, Bond is inigualável in its success and its longevity.
It will never have another personage who obtains to continue being so excellent with as much success in a world that dumb so quickly.
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EXPLOSIONS AND FIRE
Chris Corbould Supervisor Special Effects
Chris Corbould is an icon of surmounting 007.
I started I eat trainee in 007 the Spy Who Loved me (The Spy Who Loved Me), to the 17 years, later that I fired me from the company where I worked and made my first work freelance in 007 - Against the Rocket of the Death (Moonraker).
Work in the surmounting since then
Corbould explains as it elaborates the logistic one of the organization of the effect special in a action film as 007 QUANTUM OF SOLACE: As soon as I receive the script, I revise it and identify where the effect are all, and later I divide them between the first one and the second units.
This film was particularly difficult because it had a moment where we had two units filming in Panama, another unit in daily pay-production in Chile, three separate units gives to film in Italy at the same time where we worked in six studios of filming in the Pinewood Studios, in the Joined Kingdom.
Logistically, it must be one of the films more difficult than I already made in geography terms and to guarantee that the certain team is in the certain place with the certain equipment.
I have a team of about 80 people in this film, but always I try to be the all present time, inside of the possible one, to follow to the maximum all the tests and the filmings, what he means that I have that to travel very.
Corbould and its team costumam to start to work in a Bond film with a minimum of five months of antecedence before the beginning of the filmings, Of this time, were different, because I was compromised to one another film, and alone I had two months of preparation, but my team already was working in it and keeping informed me of everything.
During the daily pay-production, Corbould is part of the team that works in set to give life to the script in the screens, as Corbould explains.
People receive a script, but what you really finish filming she is well different.
The scriptwriters make its work and there the work of the creation team enters, and it it can move radically in the months that precede the beginning of the filmings.
I suggest ideas for the effect special and us we try to make things that never have been made previously.
Many times, I need to take the team in a different direction, if I see that they want to make something that already was made before and we would finish for making a mere copy.
This is the first time that Chris Corbould works with the director Marc Forster.
It was interesting to work with Marc.
I find that one of the points most interesting is that Marc does not have much previous experience in action films.
It is good for explaining everything for it, for giving to an idea and a bigger agreement to it of the process.
Marc has a well defined notion of what it wants to see, but, at the same time, it is opened the new ideas.
It is one legal face and I taste very of it.
Corbould comments the envolvement of its department in the sequence of the persecution of motor boat filmed in Colón, in Panama: We are in charge of some tricks, as the hidden pilots.
Daniel carried through, personally, many of the maneuvers in the command of the motor boat, but in some occasions, for security guard questions, we need to use a professional pilot as dublê.
We need to hide a pilot in a scene of action in particular where Daniel was to the command of the motor boat, because he would be risky excessively for it.
We had motor boats flying on other motor boats and engines of poop blowing up.
One of the boats cowling some times in full air, what in them it demanded a time until making right everything;
We had a submerged thick handle that, when the motor boat reached a certain mark, caused a great one locks when he was extended and it pulled the advantage of the motor boat for low, making to turn it in full air - we install many mechanical equipment under of water and in the edges for this sequence in particular.
To film the interior of airplane DC3, where Bond and Camille are pegos in a shoot out, the department of special effect needed to construct a hydraulical system that simulated the effect of the airplane losing the control.
The structure was, then, filmed against deep a blue one in the tank of the Pinewood Studios.
Corbould explains: We try to create the illusion of that the DC3 was involved in an air combat.
The system possuía horizontal and vertical movements and could turn on its proper axle - well it was amused to play with the hydraulical system, I I adore this type of thing.
Of beginning, us we obtain a part of museum for the fuselage of the airplane, that we would go to mount inside of our system, however soon was evident that we would have to perforate it with some shots and to damage it of several other ways, then, we decide to construct everything of the zero, what it finished well better functioning.
The production of 007 QUANTUM OF SOLACE it filmed all the scenes in the interior of the Perla De Las Dunes in the Pinewood Studios, and Chris and its team it had a cronograma heavy of explosions to be bred in the four final weeks of filming.
We had many explosions in several sets different.
In the interior of Studio 007, it had five different sections, then, in quantitative terms, it had many explosions and fire.
However, effect special do not summarize the explosions, as Chris explains.
Beyond explosions, we have the atmospheric conditions: wind, smoke, rain, fog, snow.
It still has the electronic equipment: clocks that go off darts, gaitas of bellows with flame thrower, the adaptation of cars as the Jaguar and the Aston Martin in 007 a New Day To die (Die Another Day) - we them adaptamos as vehicles tractive in the four wheels for the persecution on the frozen lake - and hydraulical systems: of modest assemblies the hydraulical systems for houses of four floors that submerge
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We know that it obtains, it is more than what capable
Gary Powell - Coordinating of Scenes of Action
The producers had promised that 007 QUANTUM OF SOLACE more action of what will have two times 007 CASINO ROYALE (CASINO ROYALE) e, for Gary Powell, this means the double of the risky scenes.
It comments on the work with the director Marc Forster: The opening sequence is equivalent in action all the film 007 CASINO ROYALE.
He was excellent to work with Marc, because it has a style of total different work.
E everything gave certain because I want that the risky scenes are filmed for real and it wants that its film seems most realistic possible.
It wanted to use Daniel to the maximum instead of appealing to one dublê.
E later fits me to say if it functioned or if we can use one dublê in the place of it.
It has certain things that we cannot allow that Daniel makes.
Daniel Craig always insisted on making the biggest possible number of its scenes of action and Powell always impresses itself with its capacity.
We already had worked with Daniel in 007 CASINO ROYALE, then, when we come back to work now with it, we knew what it was capable to make, what he very facilitated our process of training.
We simply recommence of the point where we stop and we enter of head in the training.
I do not import myself that Daniel makes its sequences of fight personally.
It knows that he has a possibility to take one I beat in the face or to give one I beat in somebody.
When we carry through scenes of action to this speed, always exists this risk.
Daniel knows of the risks and is it who decides if he wants to carry through the scene - and 9 between 10 times, it exactly he makes!
Daniel already had made many of its proper scenes of action in 007 CASINO ROYALE, but in this film, it it still makes a bigger number.
It is seen inside of a building in flames, has fire balls blowing up behind it, balls of fire in the front of it, it falls on the fire, slides for the soil in flames, but we know that it obtains, it we are more than the one that capable.
Powell, who coreografou all the fights of 007 QUANTUM OF SOLACE, it explains as the necessary action to be adequate to the personage, so that it is convincing and it contributes for the narrative process.
When we know Mathieu and we start to train with it, we knew that it would have a great sequence of fight with Bond in the end of the film and that it would be a fight until the death.
Quickly, we perceive that it was not a fighter technician, it we were unskillful e, then, we adaptamos the fight to style of it e, later we incorporate the personage.
E now, when fight, it obtains an advantage on Bond, because it does not fight better, and yes because it is a maniac.
It attacks done Bond a ensandecido insane person, with kicks, socos, shouts, attacking it with a bar - it fights dirty.
The personage of Olga [Kurylenko] is an agent, then she passed for a military training and us we had to train it until she arrived at this level.
She was difficult for it, but it reached the necessary quality.
In certain way, it it was presenteada with the fight most difficult, therefore fight against general Medrano, who has the double of its size, if not more.
Marc was distrustful perhaps of that she was not to give certain, but we submit it to a hard training and everything functioned.
We in are proud them very of the progressos of it.
The work with actors who had never submitted themselves to no training before involves much more physical force, explains Powell.
Beyond preparing the actors physically, we need to prepare them mentally.
We know that to the end of its first month of training, if not well before this, they go to wake up one day without will of if raising of the bed, therefore we will be doloridos and exaustos.
We need to also prepare them for this.
When we train actors, all have its bad day.
We need to teach them and to prepare them for this, therefore he happens with everybody.
But, in general, they come back to train in better the following day, and two times.
The team of action scenes needed to work in tune with all the too much units of the film, explains Powell: When we create the action scenes, we work with the teams of figurinos, hair and maquiagem, effect special - all need to be involved and in constant communication since the preliminary phases.
The department of figurinos can want to opt to an appearance that compromises my standards of security, for example, if we are working with fire.
E I do not want the actress dressing clothes that are not appropriate for these circumstances.
With the staff of the maquiagem, us we need to inform they if, after one it fights, Bond will finish with one cut in the supereyelash and a hematoma in left maxilar.
The dublês needs to have a general notion of the film and to work in order to eliminate to the maximum of the scene the danger and the risk.
When Daniel crosses running a corridor with explosions and fire, I needs to argue with Chris [supervisor of special effect], where Daniel will be located when the detonations to occur.
The necessary team of effect special to chronometer everything with precision and necessary Daniel to reach its marks correctly.
If it to exceed its mark, can finish in the way of a fire ball .
It has an enormous reliable dose and of arduous work of the part of all world.
The favourite car of James Bond, the Aston Martin DBS, is of volva in 007 QUANTUM OF SOLACE.
So that the cars if gave to the sequence of the automobile persecution in Italy, Powell needed to carry through some small alterations.
We have seven suitable Aston Martins the two different surfaces: for the road and the quarry, whose ground is covered of gravel.
We strengthen the suspension, we force the angle of inclination of the wheels for it are and we use specific tires for each type of surface.
We all remove the tractive system of control of the cars, so that, when to arrive the moment to give a great hobby horse, the car in allows them to carry through the maneuver.
In this way, he is dublê that it controls the car, and not it car that controls dublê.
In the Aston, us we install a hydraulical brake of hand, so that dublê can use it to turn the car when folding the esquinas.
The hand brake is installed between the driver and the door for an easy access without she is necessary to deviate the look for low.
For the scene of the jump of Bond and Camille of the DC3, Powell it opted to filming sequences of Daniel Craig and Olga Kurylenko in a training center, Bodyflight call.
`Voar' in the vertical tunnel of wind simulates the experience of a free fall, as Powell explains: When we start to plan the scene, the initial idea age to use a parachutist in free fall and will insert images of the face of Daniel and Olga through visual effect.
I preferred to use the Bodyflight in the place to hang the actors in handles and to use wind machines, then, we were until and film some tests there.
Marc attended the videos and liked in such a way, that the sequence of for-quedismo there decided to make all .
We film Daniel and Olga during one day entire and we were really excellent, because they are they themselves that are falling.
Nós não conseguiríamos os movimentos que eles fizeram se usássemos cabos, então, ficamos muito satisfeitos com o resultado.
Another monumental sequence of action in 007 QUANTUM OF SOLACE it is the persecution of motor boat, filmed in Colón, Panama.
The sequence of the persecution of motor boat was modified on of the hour and I and Simon managing Crane [of additional unit] entirely bolamos a new sequence, that was assayed quickly.
Originally, it would be a relatively small scene.
But when arriving there, we decide to become it most spectacular possible with that of whom we made use, and we were what we made.
We film the persecution of an extremity to the other of the Canal of Panama, finishing in an island for the great end.
To work in the Canal of Panama was difficult because it is not a lake.
The waters are turbulent, with hundreds of boats of more than 300m crossing our way and the dumb tide the time all.
You try to make necessary curves, but she finishes yielding to the force of the tide and can finish more than exceeding its mark in 3 or 4 meters.
Technique was a sequence well e with a complicated filming.
Gary Powell says concerning the work with ` the Bond family': I have had the luck to work in great productions, with some of the best producers, but Bond one is taken over on a contract basis familiar one.
When we are in set, we are not only plus a member of a team technique, us we are part of the family.
The father of Barbara [Broccoli] was who started everything with 007 Against the Satanic Dr.
In (Dr In), and it and Michael [Wilson] are giving continuity to the work of it.
As producing, its work is to inside keep the film of the budget, but they trust its team and make the possible one all stop in giving everything to them of that we need to make optimum that we will be able for the film.
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007 QUANTUM OF SOLACE - TIDBITS
· In the college, the tracer of production of 007 QUANTUM OF SOLACE, Dennis Gassner, was one talentosíssimo to linebacker THERE of American soccer and it arrived to be invited to try to obtain a vacant in the team of the Rams!
However, it refused offers to give continuity to its studies in industrial drawing and today she is a production tracer awardee with Oscar®.
· When Bond and Camille fall in free fall of an airplane DC3, the action scene was carried through by Daniel Craig and Olga Kurylenko in the vertical tunnel of wind of the Bodyflight.
`Voar' in the wind tunnel is what more it is come close to a jump in fall it exempts the 3,000 meters of altitude without if it needs, in fact, to jump of an airplane.
· To film the persecution to take off the breath on the roofs of the city of Siena, the production team had to remove the roofing tiles of the houses and to strengthen the roofs so that the feet of the actors did not break the roofing tiles of the constructions during the scene.
· More than 200,000 bullets of festim had been bought for the tests the training and the filmings of 007 QUANTUM OF SOLACE.
· The coordinator of scenes of action, Gary Powell, descends of a dublês dynasty.
Added, integrant of the family the Powell the films of James Bond had worked in all since 007 Against the Satanic Dr.
In (Dr In), in 1962.
Its father, Nosher Powell, and its uncle, Dinny, had worked in all the films of Connery and Lazenby, its brother, Greg, worked in all the films of Moore and Dalton, and Gary worked in all the covered with star films of Bond for Brosnan and Craig until today.
· 007 QUANTUM OF SOLACE it was filmed in more locations of what all the too much previous films of Bond agent: in 6 different countries, including the United kingdom, Panama, Chile, Mexico, Italy and Austria.
· Submitted to the heat and the humidity of the locations in Colón, the team technique of the film more than drank 1,000 water bottles per day.
· Throughout a period of only 12 days, the team of special effect of 007 QUANTUM OF SOLACE it detonated 54 controlled explosions while it twirled the climatic scene of the film in famous Studio 007.
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