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The James Bond 007 Dossier

Bond, James Bond.

4. January 2013 16:08
by m
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Esquire Magazine

4. January 2013 16:08 by m | 0 Comments

Various editions of Esquire Magazine published in October and November of 2012 featured an interview with Daniel Craig, and perhaps a "Bond off Duty" followup story. The text appears to be the same in each edition, only the photographs, typeface and language varies.

Here is the October edition from the U.K:

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01 Daniel Craig Cover Esquire UK October 2012   02 Oct 2012   03 Oct 2012   04 Daniel Craig Interview Esquire UK October 2012   05 Daniel Craig Interview Esquire UK October 2012  
06 Daniel Craig Interview Esquire UK October 2012   07 Daniel Craig Interview Esquire UK October 2012   08 Daniel Craig Interview Esquire UK October 2012   09 Daniel Craig Interview Esquire UK October 2012   10 Daniel Craig Interview Esquire UK October 2012  
11 Daniel Craig Interview Esquire UK October 2012   12 On Set Skyfall Esquire UK October 2012   13 On Set Skyfall Esquire UK October 2012   14 On Set Skyfall Esquire UK October 2012   15 On Set Skyfall Esquire UK October 2012  
16 On Set Skyfall Esquire UK October 2012   17 On Set Skyfall Esquire UK October 2012   18 Bond Off Duty Esquire UK October 2012   19 Sean Connery Golf Moon Esquire UK October 2012   20 All About Bond Photos Esquire UK October 2012  
21 Sean Connery Terry O Neill Photos Esquire UK October 2012  

Bond With Bells On. 007 Interview

Interview by Alex Bilmes, photographs by Terry O'Neill, Styling by Gareth Scourfield.

Daniel Craig's tenure as MI6's most famous agent began with the triumphant Casino RoyaleCasino Royale, faltered a little with Quantum of SolaceQuantum of Solace and looks set to exceed even the highest expectations with next month's SkyfallSkyfall. Over an un-Bond-like pint in a London Pub, the best 007 since Connery discusses his toughest mission to date: to make the classic Bond film - sylish, funny, exciting - we've all been waiting for.

A government-sponsored assassin, by turns glowering and deadpan, solemn and vicious, Daniel Craig’s James Bond is the most successful interpretation of MI6’s least-secret agent since Sean Connery retired his chest rug. Craig’s performances as Bond are muscular, kinetic, committed. His Bond is hard; “a blunt instrument”, Judi Dench’s spymaster calls him, echoing a description made by Bond’s inventor, Ian Fleming, 50 years earlier. He is ruthless, relentless. But his eyes give him away: he is capable of love; he feels pain. Cut him and, unlike his predecessors, he bleeds into the next scene, even the next film. To say the least, he is a departure from the sardonic smoothie played by his predecessor, Pierce Brosnan.

I meet Craig for this interview in June, in a North London pub closed for the afternoon so that we can photograph him for the Esquire cover. We talk over a post-shoot pint, well earned by him given that the previous day he had finished his last scene on the forthcoming Sky fall, his third James Bond film. I’ve interviewed Craig before and crossed paths with him on a number of occasions. On first meeting, he can be wary and less than garrulous; not quite a blunt instrument but bracingly no-nonsense. But with a few encounters under our belts, he’s good company, a serious talker when the mood takes him, with a martini-dry sense of humour.

In my experience, Craig loathes —I don’t think that’s too strong a word — talking to the press about his private life. In truth, he’s not that comfortable talking to the press about his professional life. An hour spent analysing his career in the company of a journalist is not Daniel Craig’s idea of a good time. And he knows that an actor discussing his technique in public comes across as an onanistic ninny. He’s conscious, too, of not wanting to be regarded as what a friend of mine calls a Charlie Big-Time Bananas — someone who’s up themselves; a swank.

“You know me,” Craig says at one point, when we briefly touch on the glamour and privilege that attends celebrity and success. “I’m not like that.” And I really don’t think he is.

His story, then, as he’s told it before — to me, and many others — is uncomplicated: drama school boy works his way up through theatre, TV and independent film, makes a name for himself as an intense character actor and then lands the blockbuster role that transforms him into an above-the-title movie star. Other details: Age, 44. One daughter from first marriage. Recently remarried, to fellow film star Rachel Weisz. Lives: between London and New York. Big reader, leftish tendencies, watches a fair amount of sport on TV. All that we know already, and have recently covered; it’s only a year and a bit ago that Craig last graced Esquire*s cover.

So for the most part, we stick to Bond. It’s more fun and, in discussing it, Craig does offer, largely unprompted, some insights into what it might be like for a pensive man of artistic bent, from a relatively humble background on the outskirts of Liverpool, to be thrust onto the world stage as the contemporary embodiment of the ultimate aspirational male fantasy figure.

Daniel Craig was announced as the new James Bond in 200$ Initial reactions to this news among aficionados of the films were mixed, to put it mildly. But Casino RoyaleCasino Royale (2006), his first Bond movie, was a triumph. A return, for the first time in a long time, to the source material (it was based closely on the Fleming novel), the film revolves around a high-stakes poker game and the romance between Bond and the doomed Vesper Lynd, played by Eva Green — the best Bond girl in many years.

Casino RoyaleCasino Royale brought sex and danger back to cinema’s longest running series. Seriousness and sincerity, too, because Craig is the least flippant actor to have played Bond. And brawn: Craig’s Bond is prime British beefcake. To descend for a moment to the language of the gymnasium (not something Ian Fleming would countenance), no 007 has ever been so pumped, so ripped, so cut. The now notorious hunk-in-trunks sequence, a subversion of the Ursula Andress bikini scene in Dr. NoDr. No (1962), ensured that Craig’s Bond was as popular with women as any Bond has been. Casino RoyaleCasino Royale won a Bafta and was nominated for eight more, including best actor for its star, and took almost $6oom at the box office — a record by some distance. Craig is rightly proud of the film and its success, but his transition from indie darling to A-list heartthrob was difficult.

“It threw me for a loop, quite honestly,” he says of the experience of becoming Bond, and all the hoopla that involves. “It really fucking shook me up and made me look at the world in a very different way. It changed my life.”

How so? “It just confused the hell out of me,” he says. “Fame and fortune, for want of a better expression is, erm, fucking scary. My background is not well off. And there aren’t many people you can ask for advice about [dealing with] that.”

I’d have thought that someone who becomes a megastar would be able to turn to other megastars for counsel, but Craig’s natural reticence wouldn’t allow him to do that. “My pride would push that away,” he says.

Was it not fun, his first flush of global fame? “I couldn’t find a lot of fun in it,” he says. “I’m not very materialistic. I mean, I love nice things, but I give a fuck about what’s going on in my head, you know? So trying to get that straight really has been, it’s been...” He trails off. “You know, there’s that great expression: ‘know thyself’? I think I probably stopped knowing myself for a couple of years. And really, you’ve got to find your own way back.”

This period of existential angst and uncertainty — and he wants to make the point that he’s not asking for sympathy, just telling the story — lasted quite a while. Only after the completion of his first two Bonds, he thinks, did he begin to embrace his new situation and enjoy his strangely elevated position.

Filming SkyfallSkyfall, “made me remember why I do it. You know, I did a lot of movies before Bond and I used to work because I wanted to work with [certain' directors and great scripts and I kind of didn’t give a fuck what people thought.”

He remembers an excoriating full-page review by the late film critic Alexander Walker, in the Evening Standard, of his 1998 film about the artist Francis Bacon, Love is the Devil.

“God bless him, but literally it was a page of hate. And then in another paper there was a full page of love. And it’s like, ‘Fuck it, this is the best!’ We polarised opinion. We got a reaction.”

Bond is a very different tank of sharks. “Bond movies live or die on their popularity. They force you to care about what people think. And I’m involved [in the films] on a very deep level. I have it in mind all the time: if it doesn’t make any money, we’re fucked. So there’s that kind of pressure, and that’s an enemy in any art form, acting especially,” he says.

“If you’re worried about what people are going to think, then you’re kind of nervous. But Bond can’t be fucking nervous! Be relaxed and enjoy it, that’s what people want to see. They want to see a man enjoying fear, enjoying champagne, enjoying martinis, enjoying the fact that he’s got a beautiful woman.”

More than that, people want to see the actor playing Bond enjoying himself. “I think so, yeah. They don’t want to see him suffering, going, ‘Oh my god, I can’t live this life’. You can’t do that! You have to kind of fucking go, ‘This is great! Look at me!”’

It was particularly hard for him to look like he was having fun on Casino RoyaleCasino Royale's sequel, Quantum of SolaceQuantum of Solace, released in 2008. It would have been inappropriate on screen — Bond was battered, bewildered and bereaved — and close to impossible off it, given the difficulties of the production.

A revenge thriller in which Bond seeks to track down Vesper’s betrayers, Quantum was the first time that the plot of a Bond film had followed on directly from the point where its predecessor left off. This didn’t entirely work, largely because a screenwriter’s strike meant that sections of the film were shot without a finished script.

“It s come out that I slagged Quantum off,” he says, “and I never meant to do that because I think it’s as good as we could have made it. But we didn’t have a script. We struggled.” The James Bond in Quantum of SolaceQuantum of Solace was grief-stricken. “He’d lost the love of his life and that’s what I played through the movie. It was darker and he was out for revenge, and I stand by that. I think that was the right thing to do."

Still, if Quantum was not a wholly satisfying experience for its audience or its star, then it was still a considerable improvement on 2002’s shagadelic Die Another DayDie Another Day, the last film before Craig took over, in which Pierce Brosnan was forced to contend not only with North Korean megalomaniacs and a Madonna cameo almost as awful as her title song, but the indignity of driving an invisible car.

Now that he’s so convincingly rebooted the series and the character, it’s easy to forget how knackered the James Bond formula had become in the years before Craig’s picking up of the Walther PPK.

“Austin Powers fucked it,” is Craig’s pithy summary of the fix brand Bond was in — it had become a parody of a parody. “By the time we did Casino, [the Mike Myers spoof had blown every joke apart. We were in a situation where you couldn’t send things up. It had gone so far post-modern it wasn’t funny any more.**

As the astute Bond-watcher Simon Winder has pointed out, the films long ago became locked into a cycle of binge and purge, alternatively overdoing the sincerity, and then the silliness. They began in the early Sixties as relatively restrained affairs, close in spirit to the best of Fleming’s nastily effective novels, but by the end of that decade they had begun to gorge on preposterous gizmos, corny jokes, creaky plots. A halt was called in 1969 with On Her Majesty’s Secret Service, which was strong on narrative, weak on gadgetry. It even had a classy leading lady, in Diana Rigg, who died in the final reel, anticipating Vesper. But unlike Casino RoyaleCasino Royale, this return to source was not judged a success, largely because it forgot the crucial bit, which is to cast an actor in the role of Bond; the ill-starred Aussie George Lazenby became a pub-quiz question, rather than a Connery-style superstar.

Back to binge: the safari-suited Roger Moore era, from 1973 to *985, was increasingly characterised by cardboard acting and wholly implausible plots. After a terrific start (Live And Let DieLive And Let Die, the young Daniel Craig’s first exposure to 007), by the end of his shift Moore was playing Bond for cheap laughs. He was never remotely convincing as a spy — he was never remotely convincing as anyone but Roger Moore — but he was at least riotously enjoyable.

Moore gave way to Timothy Dalton, an accomplished Shakespearean actor who, once more, promised a return to Fleming’s original conception of Bond. But his 007 was dour and conflicted and the films were weirdly glum. Enter Brosnan, a man with the looks, and sometimes thegravitas, of a leisurewear model, for a quartet of explosive but empty action-movies.

The most astonishing thing about James Bond is that through all this, he has somehow maintained his allure. Not exclusively, but perhaps especially for us Brits, embarrassingly flattered as we seem to be by Fleming s unlikely positing of one of our own secret service agents as the repeat saviour of the world. Why is this? Is it really still the case that with our empire a distant memory, the only way for British men to sate our innate desires to see the world, meet new and interesting people, kill them and then have sex with their wives and daughters, is to do so vicariously through the unusual, ambivalent figure of James Bond?

Craig says he’s uncertain why Bond’s appeal to boys of all ages is so enduring. “I don’t know the answer to that. I think if I tried to figure it out, it would ruin what I do,” he says. But he’ll have a go: “I think what’s always fantastic about the Bond stories — and they have retained it, though they might have lost it for a while — is that there’s always a darkness involved, but it’s a darkness with a sense of humour. A black humour. It’s about danger, but good danger, because you’re in the hands of somebody who’s saying ‘Fuck you’ to risk, ‘Fuck you’ to dying.**

I    think he’s on to something here: in a risk-averse world, James Bond has a thrillingly flamboyant disregard for his own health and safety. “For a boy watching that,’’ says Craig, “it’s like watching a great footballer, the George Best thing, the wink just before the goal. It’s that moment when you should be as scared as you possibly could be, and your heart is in your mouth, that’s when you take the time to wink at the crowd. As a kid, when you see that, you’re just punching the air!”

Fifty years alter the release of Dr. NoDr. No, the first Bond movie, it’s that euphoria precisely that SkyfallSkyfall, the 23rd Bond film, aims to recapture. It is intended to be neither a continuation of the Casino and Quantum narrative, nor a return to frothier fare. Instead, SkyfallSkyfall stands alone from its immediate predecessors. It’s classic Bond: girls, guns, gadgets, sex, danger, humour, excitement, a finely balanced mixture of reality and fantasy. Bond, as Craig puts it to me, “with bells on”.

SkyfallSkyfall arrives after an enforced four-year lay-off for the Bond series, during which time MGM, the studio that co-produces the films, went into and then came out of administration. There were suggestions at the time that this might have meant the end for 007, or at least for Craig as 007, but he says he was never seriously concerned.

In fact, he says, the break gave him and the Bond producers time to reassess. Craig has changed — “I’m a different person now to who I was then 'during the making of Quantum]"

—    and his Bond, the suggestion is, has changed, too. He’s intended to be neither exactly the Fleming character

—    “ironical, brutal and cold,’’ as the writer put it — nor the suavely glib cipher he became.

It was Craig himself who pulled off SkyfallSkyfall*s first masterstroke, approaching Sam Mendes, the British theatre and film director, with the idea of taking on Bond. “It’s a very showbizzy story,” Craig says. “I was at Hugh Jackman’s house in New York. It was a soiree — we were in a play together — and Sam was there. I’d had a few too many drinks and I went, ‘How do you fancy directing a Bond?’ And he kind of looked at me, and he went, ‘Yeah!’And it snowballed from there.”

director of the Donmar Warehouse in London and director of the Oscar-winning American Beauty and the chilling gangster film Road to Perdition, in which Craig has a memorable cameo, Mendes is by far the most acclaimed director to make a Bond film. Next to come aboard was the much-garlanded screenwriter John Logan (Gladiator, The Aviator). And SkyfallSkyfall has been shot by the great Roger Deakins, who has worked with Mendes before (on Revolutionary Road and Jarhead) and most extensively with the Coen brothers, with whom he has made 11    features. Craig won’t stand for any loose talk of an arthouse 007, but clearly this team brings more critical bonafides than any previously assembled for a Bond film.

Unless you’re Deakins or Sam Mendes, I’ve seen a few minutes more of SkyfallSkyfall than you have, and as many completed minutes as Craig himself had seen when we met. And I’ve only seen four minutes. From that and the publicity materials — and from Craig’s amused nods and shakes of the head as I stumble through an attempted plot precis born of speculation and guesswork — I can tell you that SkyfallSkyfall's starter button is pushed by a bouffant blond psychopath called Silva (Javier Bardem, in what looks to be a vintage OTT Bond baddie performance). Judi Dench’s role is much expanded from previous films, with her M under pressure and MI6 under attack — there’s an architect-pleasuring explosion on the roof of the much-maligned MI6 South Bank ziggurat — as information about its operatives falls into the wrong hands and its most famous agent goes missing, presumed dead. When he surfaces, he and M mount a clandestine defence of the realm.

We know that locations include Istanbul (see Esquire's set report, on page 130), Shanghai, Macau and the highlands of Scotland, but that the film is overwhelmingly set in London. (Such is Bond’s pull in the higher echelons of the civil service that Whitehall was closed so the crew could film there, and there’s an incendiary chase scene on the Underground; no word yet on whether Bond makes violent use of his Oyster card).

In the footage I’ve seen, M is shown glaring at a row of coffins draped in the Union Flag. At another point, Bardem’s nutcase lisps a line about the end of the Empire and England becoming a joke.

It doesn’t take a genius to guess that this portrait of British power might be rooted in something closer to reality than on previous occasions.

“There’s a little bit of what it is to be British in the movie,” Craig concedes. “That’s not what the film is hard and fast about, but I’d be lying by saying we don’t touch upon it. It’s about who Bond is, but first and foremost who M is. What she represents as the head of MI6, her morality.”

You’ll have gathered that it’s not just the film-makers and the lead players who come trailing laurels. Together with the producers, Craig and Mendes have been able to attract an unprecedentedly accomplished supporting cast: Ralph Fiennes as a steely, patrician Whitehall mandarin; Naomie Harris as a sparky MI6 field operative; Ben Whishaw as a gadget geek from Q Branch; as well as Rory Kinnear and Albert Finney.

“I had no major game plan coming to this,” says Craig, “but in the back of my mind, I thought if we can get the right writer and director, and get the script right, then we can attract those people. Then when Sam came on board and we got the script, and then every single number one on our list said yes, that gave us a real boost.”

Craig’s original inclination, when he first took on the role, was to bring realism back to Bond. That’s still there, but counter pointed by a desire for more levity. More jokes, even.

“Whenever I go and see a big blockbuster movie,” he says, “whether it’s about aliens or whatever, as long as it’s got an element of truth in it, I’ll buy it. People ask me [concerning Bond], ‘What about the gadgets? What about the jokes?’ And I can’t force that in if it’s not there in the script. If it is there, I can make something of it.”

In SkyfallSkyfall, he implies, there are opportunities in the script for lighter moments. “I’m not saying we’ve done it a lot, but we’ve said, ‘OK, at the right point we’re allowed’. Whether it’s just a straightening of the tie [after an action sequence] or a quip I’ve been able to improvise. When you’ve got a writer like John Logan, you can do that.” He’s never going to be Roger Moore. “That’s about sending it up, and that’s not me. I kind of have to act it. I’m not James Bond. You know me well enough to know there’s a difference between Bond and me. I know I’m not funny-funny. So I have to work at it to find these comic moments. But if there’s a good story, then I feel quite confident. Then I can wink and hopefully the audience can go along with it. That was always the plan [for
SkyfallSkyfall], and it relies on great writing and a good director.”

Unlike on previous Bond films, before shooting started Mendes gathered the leading players together with the script and with John Logan and encouraged them to improvise lines that might be used in the film. The intention was to find the implicit humour in the scenes Logan had written, not to arbitrarily insert gags.

And it was necessary to keep a close eye on proceedings, lest Bond’s old habits returned. “We had the Austin Powers warning klaxon. Guys running around in boiler suits, me just killing them willy-nilly? Klaxon goes off. Can’t have that!”

What a shame, I tell him. I love those guys in boiler suits, running around being randomly offed.

“Oh, we’ve got a few of them in it," he says. “With the hard hats and the Wellington boots on.”

There are other nods to Bonds past. Craig drives the silver Aston Martin DB5 made famous by Connery and even

his suits — made by Tom Ford — have the thin lapel and the fitted silhouette familiar from Sixties Bond.

“It all comes from the same place,” says Craig, “which is that as much as possible we wanted to give the audience our take on classic Bond.”

Craig says that if SkyfallSkyfall were to be his last Bond, he’d be satisfied with his achievements — “Don’t tell Barbara,” he says, nodding across the pub at the newly-arrived Ms Broccoli — but he has already signed on for two more Bonds, so I think it’s safe to say 007 survives SkyfallSkyfall, gunshot wounds and all.

Now, though, is not the time to talk about the future. “Today, just contemplating another one is fucking beyond my imagination. All I want to do right now is go home.”

Between our meeting and late October, when he’ll be on the worldwide publicity tour, for the first time in a long time Craig has no work lined up, except for any discussions he might have with Mendes as the final cut of SkyfallSkyfall takes shape. For an actor, this would usually be a cause for concern. But not in his case. “I’ve been working non-stop. I’m sick of the sight of me, so I can’t imagine how other people feel about it.”

I tell him he’s right: we’re all fed up with looking at him, too. He drains his pint, gives me a steely glare, then a wry grin, then a firm handshake. “Cheers,” he says.

Then he winks.

SkyfallSkyfall is out on 26 October

Have Gun Will Travel (007 on set report)

Almost 50 years after he last visited the city, for From Russia With LoveFrom Russia With Love, British Intelligence's globetrotting assassin is back in Istanbul for next month's SkyfallSkyfall. In an exclusive report from the set, Stephen Smith witnesses the making of a very modern 007.

When James Bond flew to Istanbul on assignment in Ian Fleming’s From Russia With LoveFrom Russia With Love, he carried a “slim, expensive-looking [Swaine Adeney Brigg; attache case”. It had been — — modified to conceal 50 rounds of .25 ammunition, 50 gold sovereigns, two flat throwing knives, a silencer hidden in a tube of Palmolive shaving cream and a cyanide “death-pill” (which he immediate flushed down the lavatory). When ( lew to Istanbul to report from the set of the new James Bond film Sky fall, I carried a richly storied Millets rucksack — carefully selected to hold 200 rounds of 297 mm paper in a navy A4 notepad, £50 in Tlirkish liras, a pair of gripping ballpoints and a phial of Factor 30 sun lotion (which I immediately mislaid at the gate).

Yes, I had the edge over Bond in the luggage department, alright. Not only was I travelling light, but my gear was calculated to raise no suspicions among airport officials. By contrast, as 007 acclimatised himself to his propeller-driven BEA Viscount (“Bond unfastened his seat-belt and lit a cigarette...”), he was relieved the checkin girl allowed him to take his groaning valise on board without weighing it, and wondered how Customs would have reacted if, stitches popping, the bag had been “slipped under the inspectorscope” instead.

James Bond has seen a few changes since he first started travelling for work, but one constant has been the high-end accessories: high-end, if sometimes impractical. You could set your Rolex Oyster by the quality and tone of his fixtures and fittings. Not just the well-documented handmade threads and bespoke drinks, not only the customised cars and personalised piece, but indeed the whole damn shooting match. His job calls for discretion and lightning-fast results, but Fleming has him embarking on an assignment as if he were a pith* hel meted explorer.

Like William Boot, Evelyn Waugh’s haplessly encumbered foreign correspondent in Scoop, Bond sets out with cabin trunks and a sedan chair, or might just as well do. In this, his creator was subconsciously recalling the archetype of the 19th century expeditionary — the planter, the viceroy — who really did go out and boss the world. But scholars of the texts note that the author also groomed and equipped his protagonist in the manner Fleming, a genuine toff, was accustomed — hence the monogrammed tabs and the toiletries from St James’s.

At a stroke, Fleming single-handedly created the airport novel, ushering in its pedantic branding and the product placement which stands in for characterisation. Here was the real genius of the Bond franchise — yes, there were the villains; yes, the girls; and, of course, the enigma of the titular hero himself. But 007 is really a chameleon and a chimera, shape-shifting and sloughing off his skin. No, the true secret of this secret agent’s success was the kit — and the travel.

Fleming’s thrillers, together with other classic English crime and adventure yarns, have been described by the critic Colin Watson as “snobbery with violence”. But the Bond stories are actually holidays with violence. The recurring male fantasy of Bond is a holiday from reality in itself. We might baulk at the actual derring-do, but we quite fancy giving it a go the last week in July and the first week in August, especially once we refresh ourselves as to the itinerary — the Caribbean; romantic spa breaks in boutique hotels made entirely from ice; Istanbul...

Ah yes, Istanbul! As well as visiting a major SkyfallSkyfall location, I had an appointment with the man who is effectively Bond’s travel agent — he makes sure the trunks are packed and the bearers are booked — though he is more, much more, besides. He is an enabler of dreams, Bond’s real quartermaster (unlike that charlatan Q who appears in the movies).

It’s no exaggeration to say that this man makes the weather for Bond, as well as for the millions of us who follow his adventures, a knack which comes in handy when the real weather fails to oblige. Why, on this very production, my high-level contact had grappled with the worst man and the elements could throw at him, including the bankruptcy of the MGM studio, so long associated with Bond’s body of work, as well as nature at her most terrible and capricious: a cyclone on set!

From time to time, the fastidious Bond likes to slum it. In From Russia With LoveFrom Russia With Love, we read of his “perverse liking for the sleazy romance that clings to old-fashioned Continental hotels”. In Istanbul, he checks into the Kristal Palas, where he has colourful encounters with dubious foreigners. A charming, if not politically correct, and, of course, laughably fanciful, view of what really goes on in this bustling entrepot. Or so I explained to my companion, a solitary Slovenian sitting up late with me at the rooftop bar of our hotel. Below us, the lights of the ships were winking on the inky Bosphorus. The other man merely grunted, and slid his glass of oily raki across the table towards me. “You must try,” he barked, and a short time later, the lights in the bay seemed to buck and twist, like the golden chain on a belly dancer’s navel...

That night, I dreamt that Bond, looking more than ever as though his burly jaws had been wired together, was squiring a statuesque brunette towards a 4x4 through an honour guard of photographers. Morning found me cabbing it groggily across town to my rendezvous with the movie people in the old port quarter. The taxi pulled up before a chicane of crush barriers in Emindno Square and the driver exclaimed “James Bond!” The glamour and excitement of the shoot had touched Istanbul, and the dream I had was really a video clip, playing continuously on local news, of Daniel Craig enjoying his downtime in the city with his wife Rachel Weisz.

The railings had been thrown up around the outsize condiment set — the salt and pepper pots, the sugar-shakers — of a 16th century mosque, known in this long-in-the-tooth town as the New Mosque. In the shadow of its minarets was an unassuming street market, in all its plenty and variety: the heaped produce, the still-life compositions of flesh and fish, the bolts of gaily-coloured cloth. The one incongruous note, which struck even a newcomer to Istanbul like myself, was the rear end of a black Audi A5, which rose monstrously above the stacked trestles like a freshly caught whale steak. Perhaps the cyclone which had whirlygigged through the port some days earlier had snatched the car up and carelessly tossed it aside? No, it seemed the script had called for an Audi to bury itself in locally sourced goods. In fact, the script called for not one but 15 A$s to be written off or otherwise ill-used around the city, all for the sake of a spectacular chase sequence, which would require the services of 500 extras and 300 crew. Not only that, but the street market in front of me was drawn entirely from the palette of the SkyfallSkyfall designers: on-site chippies had knocked up every stall.

There was further evidence of east meeting west, indigenous artisanal traditions with the craft skills of an international film crew, at the ninth century Kapaligar§i, the Grand Bazaar. Withi n the colonnaded passages of this extraordinary labyrinth is the greatest shopping mall of the ancient world. A survey in 1880 found it was home to 4,399 shops, 2,195 ateliers, 497 stalls, 12 storehouses, 18 fountains and a dozen mosques. “The number of commercial establishments would appear to be about the same now,” according to the definitive Strolling through Istanbul by Hilary Sumner-Boyd and John Freely. “It is a small city in itself.”

Beneath its flaking arches, on plangently-named avenues such as the Street of the Turban-Makers and the Street of the Aga’s Plumes, the Ottoman and Byzantine strands of Istanbul’s history are braided together like the skeins of smoke from a hookah.

With a confidence and a sense of mission those ancient empires would salute, the Bond people had taken over the Grand Bazaar from its costermongers, porters and pedlars, only to tag them with backstage wristbands and hire them back as extras. In an atmosphere redolent of camphor and the musk of feral cats, shortish men in dense brown suits stood about sipping sweet coffee while their immemorial place of work became the province and plaything of blokes in shorts.

These were chaps from Kent and Essex steeped in the values of the cinema. And their shorts were the instantly recognisable tunic of the fitter and the spark, hung with walkie-talkies and crocodile clips, with lariats of gaffer tape. One rigger, was window-shopping at a crockery stand, a jaunty sombrero slung across his shoulders. A well-preserved stallholder looked on with a sultan’s self-assurance from beneath the hanging garden of his hairpiece.

On this thoroughfare hung with brightly painted plates, lamps, bangles, and T-shirts, the honest freemasonry of the soul, and the brotherhood of the clapperboard and the Klieg light, came face to face with one another, and recognised a little of themselves.

As if unsettled by the absence of the Grand Bazaar’s customary haggling, a knot of tradesfolk had sought out the compact Craig — his hair cut downy-short at the back, a suggestion of silver in the thread of his tight-fitting suit, a black earpiece snug in one lobe. Craig was generously indulging an old boy who wanted to show the famous actor his collection of black and white snaps, perhaps of the first shoot a Bond team had carried out in his city. That was 49 years ago, almost to the day, when Sean Connery was filming From Russia With LoveFrom Russia With Love, negotiating the Stygian lagoon of the underground Basilica Cistern built by the Roman Emperor Justinian. Elsewhere, members of the crew were attending to a quad bike throbbing under a camera rig. A short distance ahead of it in the thronged passageway, a stuntman, wearing the same suit as Craig’s, was gunning the throttle of a motorbike, leaning over the high-kicking suspension of its front wheel.

Around me, shoulders tensed, earphones chattered, timecode raced across the bottom of a monitor and, at a command I couldn’t make out, as it rang back from the high cornice of the Grand Bazaar, the motorbike sprang forward through cleaving columns of tradesmen, pursued by the roaring quadbike. Many man-hours would be spent nailing this shot, and like an exercise in testing the domino effect to destruction, one element of this city-wide game of KerPlunk would knock on mesmerisingly into the next. This was all in the service of a heavily redacted screenplay which, as far as I could establish by means of my own black ops, centred around Bond going underground in order to fight for the reputation of British intelligence — perhaps even its survival.

Another cliffhanger was hidden in the pages of the SkyfallSkyfall call-sheet. For the elaborate daisy-chain of action in Istanbul had been months in the planning and weeks in the shooting, with costly principals, including Craig himself, flown in to add their clinching contributions over a matter of a few carefully story-boarded days.

This, as well as absolutely everything else, was the responsibility of the lean 70-year-old whom I met in a side-alley of the Grand Bazaar. Michael G Wilson has been a scriptwriter, a cameo performer, and for more than 30 years, producer of the Bond movies.

“Just a little shot like this,” he said, craning his neck toward the TT course behind us. “Well, it takes an enormous amount of planning. You have to persuade all the owners of the shops to come in here on a Sunday, their day off, and open them up and dress them, then you need your crowd, you have 45 stunt people in that alleyway alone, and you have to make sure everybody gets out of the way of the bikes. And this is for the sake of a tiny bit of film, in terms of screen-time.”

I said, “Did you notice the extra with the wig? You could have that blow off as Bond drives past him.”

“I’ll give that some thought,” replied an openly grateful Wilson. “You know, for fun, I was looking back at the paperwork from when Bond was here last time, almost half a century ago, and things did seem a lot simpler then. But it’s always been a kind of complex and difficult operation. Now we have more effects we can play with, and expectations are higher. The public always demands more excitement.” Wilson is the stepson of the legendary Albert R “Cubby” Broccoli, the man credited with turning Fleming’s thrillers into box office catnip, and these days he shares production chores with Broccoli’s daughter, Barbara. He said, “I was a student when my stepdad was making GoldfingerGoldfinger. I went to visit him when they were shooting at Fort Knox. He said he could use an assistant and I wound up working on that movie for three weeks. Sometimes they needed film doubles, so I doubled Bond, then I was a Korean at Pussy Galore’s Flying Circus. It became a kind of tradition, and there just seems to be a moment in each film when I do a little tiny bit.”

Long nights over a box-set will confirm that Wilson moonlights as a gondolier in MoonrakerMoonraker, also the first of his production credits. He has also essayed the roles of a Greek Orthodox priest (For Your Eyes OnlyFor Your Eyes Only), a Soviet apparatchik (OctopussyOctopussy), an opera buff (Living Daylights) and casino whale (The World Is Not EnoughThe World Is Not Enough). But these are mere squibs, an in-joke. The plain fact is that Wilson is the impresario and actor-manager of the Bond repertory company. He barks up the money, handles the talent, wrangles

the snafus. If anyone can be said to be running agent 007 the way Fleming did, it’s Michael G Wilson.

But wasn’t he afraid that the Bond narrative arc was beginning to strain credulity — a Brit who saves the world? Our day was done, surely.

“Look,” said Wilson, “whenever the United States gets involved someplace, the British are right there with them. And let me tell you that we have spoken, informally, to British special forces, past and present. They advise us, ifyou will. And they are still very active, you know, behind the scenes. So Bond isn’t so far-fetched as you may think.”

Bond lives! I had glimpsed his spymaster pulling the levers and turning the knobs. If I had understood Wilson correctly, the long-running 007 character was rebooted by the insights of bona fide spooks. But who was this Bond, exactly? He wasn’t Fleming’s creature, that was for sure.

Wilson said, “Fleming’s idea of Bond was a much more polished character than the one who appears in the films. He was thinking of a David Niven, public school, type. But the film rights were acquired by Harry Saltzman and ‘Cubby’, they were American, they wanted a more robust figure in the role. It wasn’t that Bond ceased to be British, but it was another facet of Britishness.”

It was true, of course. Privately, I pined for Fleming’s sophisticated — or perhaps merely fussy — 007, the one who knew his own mind on all the decisions a man has to make. Not only about such trifles as guns and lovers, but also about the really useful stuff: how do you instruct your housekeeper to prepare your eggs? Which marmalade do you spread on your soldiers? (For the record, the answers are: boiled for three-and-a-half minutes, and Frank Coopers Vintage Oxford.) Fleming’s Bond is as finicky as a medieval caliph who doesn’t trust his food taster. Christopher Hitchens, a fan, recognised the spy’s “bachelor affectations about eggcups and marmalade”, but felt they didn’t diminish his panache, “ifonly because one had the sense that he could, and often did, live without them.”

Just at that moment, as if he had read my mind, Bond himself re-entered the scene. Striding towards me and his producer, Craig quipped, “Give him hell, Michael!” It was good-natured banter, but would this Bond know his way around a breakfast tray? I frankly doubt it.

In a few minutes, on a closed set, Craig would be relieving his body-double of that prancing, neighing motorbike, and riding a few hot-blooded metres on it himself. But first —    and it was a lovely gesture — he was popping into one of the shops of his newfound buddies, the boys from the Grand Bazaar. James Bond was going souvenir-hunting

Bond Off Duty

When Terry O’Neill shot Daniel Craig for this month’s Esquire, it wasn’t the first time he’d trained his lens on James Bond.

As his brilliant new book proves, the legendary photographer was on set from the start, capturing 007 at his most unguarded.

"I had a great day shooting Honor Blackman for Goldftnger and it just seemed like a good idea to write her character's name in the sand. I don't think either of us understood the connotation back in 1963 when it was filmed. I know the Broccolis were worried, though, because they were going to change her name to Kitty for the film's release in 1964 — which would have rather spoiled my photograph.’

"In 1971’s Diamonds Are ForeverDiamonds Are Forever, Sean [Connery] had this wonderful scene at the Slumber Inc crematorium where he escapes a roasting. Sean was always up for a gag so I grabbed him and an urn full of ashes which should have been James Bond’s."

Connery taking a nap between takes, with an appropriate sign on the building in the background.

"On the set of Goldflnger in 1963, everyone had fun. These were the early days when Bond was still a very British kind of film, loads of humour and Sean goofing around and nowhere near the global franchise it has become.”

"I’ve never known anyone more relaxed on a film set than Sean Connery — except perhaps Michael Caine. Both of them can catnap in a thunderstorm. Sean just lay down and went to sleep while he waited for the call to do the big fight scene in the swimming pool in Diamonds Are ForeverDiamonds Are Forever."

"Film sets can be short bursts of activity and long periods of boredom. Filming Diamonds Are ForeverDiamonds Are Forever in Vegas, Sean liked to slip away and play the slots. And pose with the girls, of course. At (notorious hotel/casino] Circus Circus — they all wanted to be photographed with Bond. And on the set of a Bond movie, there was only room for one ladles' man. Sean liked to be the girls’ main focus.”

"The chuck wagons on Bond shoots were often given nicknames — such as Brasserie Broccoli and ‘Cubby’ (Broccoli, Bond producer) would often dish up his own pasta recipes for the crew and cast. A Bond film really was a very big extended family in those days."

Far left: Terry O'Neill in the Sixties His new book of photographs, All About Bond , is out in October (Evans Mitchell Books)

Here is the October edition from the middle East: (The Text is in English and is the same as the UK Edition, so see above for the text only version.)

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Daniel

대니얼 크레이그가 초특급 비밀요원으로 활약하기 시작한 것은 <007 카지노 로얄>부터였다. <007 원럼 오브 솔러스>에서 살짝 비틀거리긴 했지만 10월 26일 한국에서 개봉하는 <007 스카이폴>에서는 그 어느 때보다 높아진 기대치를 훌쩍 뛰어넘을 것으로 보인다. 숀 코네리 이후 최고의 007로 평가받는 대니얼 크레이그가 지금 짊어진 고된 임무에 대해 이야기했다. 전혀 제임스 본드답지 않게 런던의 한 g에서 맥주를 앞에 놓고 그가 털어놓은 임무란 모두가 고대해왔던 ‘클래식 본드 영화’를 만드는 것이다. 스타일리시하고 재미있으며 짜릿한 스릴이 있는 최고의 액션 영화 말이다.
섬뚝한 눈길로 노려보다가,아무 일도 아니라는 듯 무표정했다가. 엄숙하 고 진지했다가, 다시 순식간에 사악하기 그지없는 표정으로 변한다. 정 부를등에 업은완벽한 암살자이자M6의 최정예 비밀요원 제임스 본드. 대니 얼 크레이그는숀 코네리가은퇴한 이후 바로 그 제임스 본드 역할을 가장 성공적으로 해석해낸 것으로 평가받는다. 그가 연기하는 제임스본 드는활동■적인 근육질이다. 헌신적이며 맹렬하다. 주디 덴치가 연기하는 MI6의 국장은 그를 ‘무딘 도구’라고 부른다. 제임스 본드를 탄생시킨 소 설가 이언 플레밍이 50년 전에 묘사했던 그대로다. 그는 무자비하고

가 차 없다. 그러나 그의 눈동자^:- 그를 배신한다. 본드 역시 사랑을 느낄 줄 아는, 고통을 느낄 줄 아는 사람이라는 걸 드러내기 때문이다. 과거의 본 드들과 달리 그는 칼에 찔리면 다음 장면까지, 심지어는 그 다음 편에서 까지 피를 흠린다. 전임자였던 피어스 브로스넌이 연기한 냉소적이면서 곰살맞은 본드와는 차원이 다르다.

인터뷰를 위해 대니얼 크레이그를 만난 건 지난 6월이었다. 촬영 장 소였던 노스 런던 핍은〈에스과이어〉커버 촬영을 위해 잠시 문을 닫은 상태였다. 사진 촬영이 끝난 둬. 맥주를 앞에 놓고 이야기를 나누었다. 바 로 전날 그의 세 번째 제임스 본드 영화인 <007 스카이폴〉의 마지막 장면 을 끝냈으니 , 그가 맥주를 살 만도 했다. 우리는 이미 구면이 었디-. 전에도

나는 대니얼 크레이그를 인터뷰한 적이 있었고, 다른 장소에서 서로 마주 친적도여러 번이었다. 처음만났을 때,그는잔뜩 경계하는모습이었고, 절대 말이 많다고 할 수 없는 모습이었다. 단순하게 ‘무딘 도구’로 끝나는 게 아니라 이예 농담이 라는 걸 모르는 사람 같았다. 하지만 여 러 번 만나 먹고 마시며 시간을 보내고 나니 그는 어느덧 좋은 친구가 되어 있었다. 분위기만 잡히면 마티니처럼 유머 감각이 건조한 신중한 이야기꾼이 되 었다.

내 경험으로 보자면, 크레이그는 언론에 자신의 사생활을 노출하는 것을 극도로 혐오ᅳ이건 결코 과한 표현이 아니디ᅳ한다. 사실은 기자들 앞에서 배우로서의 자신에 대해 말하는 것조차 그다지 편안해하지 않는 사람이다. 기자를 벗 심아 긴 시간동안자신의 커리에■분석하는 건 대 니 얼 크레이그가 원한 일은 아니 었다. 또한 그는 배우가 자신의 테크닉을 공개적으로 발설한다는 건 자위행위를 하는 멍청이 같은 인상을 줄 수도 있다는 걸 안다. 자신을 과대포장하거나 과시하지 않으려고 의식적으로 노력하는 건 물론이다.

“당신은 날 잘 알잖아요.” 성공한 유명 인사세게 따라오는 화려함과 특권에 대한 이야기가 나오자 그가 말했디-. ‘*난 그렇지 않아요:’ 나도 그 가 정말로 그렇지 않다고 생각한다.

그가전에 이야기했듯이ᅳ나를포함해 여러 사람에게ᅳ그의 이야기 는 복잡하지 않다. 드라마 스쿨을졸업했고, 연극 무대, TV, 독립 영화를 거치면서 강렬한 캐릭터를 가진 배우로 이름을 알렸고,결국 블록버스터 영화의 주인공이 되었다. 또 다른 디테일을밝히자면, 그의 나이는46세 첫 결혼에서 얻은딸이 하나 있고 최근에 동료 배우인 레이첸 와시즈와 재 혼했다. 런던과 뉴욕을 오가며 지 낸다. 독서광이고,약간 좌익 성향이고, TV로는 주로 스포츠 중계를 본다. 여기까지는 이미 우리가모두 아는 사 실이고, 최근에 소개된 적이 있다 크레이그가〈에스과이어〉의 커버를 장식한 지 1년 남짓밖에 안되었기 때분이다.

그러므로 우리는 함께한 시간의 대부분을 본드 이야기로 이어갔다. 그게 더 즐겁고, 본드 이야기를 하다 보면 일부러 유도하지 않아도 리 버 풀 교외라는 상대적으로 소박한 곳에서 예술적 성향의 사색적인 남자로 산다는 것이 어떤 것인지, 모든 이가 가장동경하는 대상인 환상적인 남 성상을몸으로 보여주는 인물이 되어 전 세계의 무대 위 에 오르는 기분이 어떤지 엿볼수 있기 때문이 었다.

대니얼 크레이그가 새로운 제임스 본드로 공식 발 표된 것은 2005년이었다. 본드 팬들이 이 소식을 듣고 처음 보여준 반응은 순하게 표현해도 '복합적 안 것이었 다. 그러나그의 본드 데뷔작인〈카지노 로얄>(2006>&

대성공이었다. 오랜만에 원작(이 영화는플레밍의 소설 을 거의 그대로 바탕으로 삼았다)으로 돌아온 이 영화는 판이 큰 포커 판 주변에서 일어나는 사건들과 본드와 베 스퍼 린드(에바 그린은 오랜만에 나타난 최고의 본드 걸 이 라는 평 가를 받았다)의 로맨스를 그렸다.

/ | 지노로얄〉은영화 역사상가장긴 숫자 〈 ᄎ ᅡ 를 자랑하는 007 시리즈에‘섹스’와 위 \ | 험’이라는요소를 다시 가져왔다. 신중함 과순수함 역시 돌아왔다. 크레이그는본드를 연기한 배 우들 중에서 가장 과묵하기 때문이다. 게다가 크레이그 의 본드는 프라미엄급 복근을 가진 가장 육체적 인 본드 다. 플레밍은좋아하지 않겠지만,잠시 몸에 대해서 이야기하자면, 지금 까지의 007 중 어느누구도 크레이그처럼 자주 얻어터지고 칼에 찔린 적 은 없었다. 요즘 한창 주가를 올리는 운동복 트렁크 차림의 섹시한 장면 들은 007 시리즈의 1탄인〈살인 번호>(1962)에서 우르술라 안드레스가 보여주었던 비키니 신의 성별을 바공 셈인데, 덕분에 다른 어떤 본드 못 지않게 크레이그의 본드는 여성들의 지지를 받는다.〈카지노 로얄〉은 영 국 아카데미상 중에서 한부문을 수상했고 그 외에도 여 덟 개 부문에 노미 네이트되었디-. 흥행에서도 6억 달러라는 기록적인 성적을 올렸디-. 크레 이그는 이 영화와 이 영화의 성공에 자부심을 가지지만, 사실 그가 인디 영화의 간판급 배우에서 A급 블록버스터 영화의 매력남 배우로 변신하 는과정은쉽지 않았다.

“솔직히 말해 내가완전히 정복당하는느낌이었어요:’본드가 되어가 는 과정과 그에 수반된 모든 소동과 요란한 경험을 그는 이 렇게 표현했 다. ‘*나를 뿌리째 흔들어놓았고 세상을 보는 내 시선 자체를 완전히 바꿔 놓았어요. 내 삶이 통째로 변했죠:’

어떻게? “너무나 혼란스러웠어요. 명성과 부, 더 잘 보여야한다는욕 구는 사실 공포스러운 겁니다. 제 환경도 그다지 좋지 못해서, 이런 문제 를 털어놓고 싱담하거 나 조언을 구할 만한 상대가 없어요.”

나는 한 초대형 스타가 다른 초대형 스Ef에게 자분을 구하는 장면을 상상해보았는데,천성적으로 과묵한 크레이 그에게는 불가능했다. “자존 심 때문에 그럴 수 없었어요.”

처음으로 세계적인 명성을 얻는 건 신나지 않을까? “나는 그런 데서 그다지 큰 재미를 못 느껴요. 유물론자는 아니 거든요. 물론 고급스러운 것들을 좋아하기는 하지만, 난 내 머릿속에 떠오르는 것들이 더 중요해 요. 그러니까,내 머릿속에 있는 것들을직설적으로표현하자면….”그의 말끝이 흐려졌다. “유명한구절을빌려서 표현하자면, ‘너 자신을알라’예 요. 최근 몇 년 동안 나 자신에 대해 알기를 중단하고 살았던 것 길까요. 얼른 내 궤도로돌아가씨:죠,정말로.”

이런 실존적인 불안과 불확실성의 시대ᅳ한 가지 덧붙이자면, 그는 절대로 동정을구하지 않는다_는 꽤 긴 세월 동안 계속되었다. 첫 두 편 의 본드 영화를 끝낸 후에야 그는 자신이 처한 새로운 상황을 받마들였고 낯설 정도로높아져버 린 위상을즐길 수 있었다.

“〈스카이폴〉을촬영하면서 내가왜 이 일을 하는지 기억하려 했어요. 본드 이전에도 많은 영화를 찍었고, 영화를 찍는 데 익숙했어요. 함께 일하고 싶은 감독이 있었고, 좋은 대본으로 연기하고 싶었을 뿐이지,사람 들이 어떻게 생각하는지는 관심 없었습니다.”

영화 평론가인 고 알렉산더 워커가 화가 프랜시스 베이컨의 일대기를 그린〈사랑은 악마>(1998)에 대해 혹독하게 비난한 영화 평이 한 신문의 페이 지를 가득 채 운 적이 있었다.

“고인의 명복을 법니다. 하지만 그 평론은온통 증오 로 가득 차 있었어요. 또 다른 신문에는 호평으로 가득 한풀페이지 기사가 실렸는데,‘아, 이 영화이:말로 최고 의 영화!’라는 투였습니다. 우리가 사람들의 주장을 양 극화시킨 거였죠. 반§은 있었던 셈입니다:’

본드는 전혀 다른싱어 떼로 우글거리는아쿠아리움 이다. “본드 영화는 인기에 따라서 죽고삽니다. 사람들 이 어떻게 생각하느냐를늘 주시하도록 강요해요. 그리 고 나는 이 영화쉬1 매우 깊이 연관되어 있죠. 항상 명심하려고 노력합니 다. 이 영화가흥행에 실패하면,우린 망하는 거예요. 그러니까 압박감이 없을 수 없고,그런 압박감은 모든 예술 형태에서 적이나 마찬가지예요. 특히 연기는 더하죠:’그가말했다.

“사람들이 어떻게 생각할까고민하기 시작하면 긴장하게 되죠. 하지 만본드는 긴장하면 안 되는 겁니다! 긴장을풀고즐겨야죠. 사람들이 보 고 싶어 하는건 그런 거니까요. 공포를즐기고, 샴페인을즐기고, 마티니 를즐기고,자기 품에 아름다운 여자가 안겨 있다는 걸 즐기는 남자, 관객 들은그런 남지를 보고 싶어 합니다.”

그렇다. 사림•들은 본드를 연기하는 배우가 자신을 즐기는 것을 보고 싶어 한다. “맞아요. 저도 같은 생각이에요. 고통받고 괴로워하는본드를 보고 싶은건아닐 거예요. '세상게! 저렇게는안살겠어!’ 이런 생각을하 게 만들면 안 되는 거죠. 어떻게 하든,‘이건 멋진 삶이야! 날좀 봐!’라고 말하는 것처럼 보여야합니다.”

〈카지노로얄〉의 속편이었던〈원팀 오브 솔러스>(2008)는 제임스 본 드로서 즐겁게 사는 것처럼 보이는 게 특히 힘들었던 작품이다. 제작상의 어 려음은 차치하고라도, 두들겨 맞고,버려 지고, 자신을 돕던 누군가의 죽음을 목격하는 본드가 등장하는 영회를 스크린에 올리는 것은 부적 절 하기 도 하려 니와 거 의 불가능에 가까웠을지도 모른다.

베스퍼를 죽음에 이르게 한 배신자들을 추적하는 본드의 복수극인 〈퀀팀 오브 솔러스〉는 전작이 끝난 지점에서 시작되는 최초의 후속편 007이었다. 그러나 계획은 쉽게 성사되지 않았다. 작가들의 파업은 이 영화의 각부분들이 완성된 대본 없이 촬영되어야한다는 것을 의미했다.

“내가〈원팀 오브솔러스〉를 엉망으로 만들어버리게 될 것 같았어요. 절대로 그럴 수 없는데 말이죠. 우리가 멋진 영화를 만들 수만 있다면 정 말 좋을 거라고 생각했어요. 하지만 대본이 있어야죠. 정말 힘들었고 악 전고투였어요.”

〈원팀 오브솔러스〉의 제임스본드는슬픔에 억장이 무너졌다. “평생 처음으로 사랑한 여인을 잃었고, 이 작품 내내 그런 남자를 연기했어요. 다른 작품에 비해 어두운분위기였고, 본드는복수를 위해 나섰죠. 난그 런 상황을 이해했고, 그게 올바른 행동이었다고 생긱쒜요.”

관객들이나 주연배우에게는 완전히 만족스러운 작품이 아니 었다 해 도,〈권팀 오브솔러스〉는2002년 대니얼 크레이그가본드로 나서기 전 마지먹-007 작품이자 피어스 브로스넌이 어쩔 수 없이 북한의 미치광이 와손잡아이: 했던,심지어 그녀가 불렀던 타이틀송만큼이나 마돈나의 카 메오 연기가 끔찍했을 뿐만 아니라 보이지 않는 자동차를 운전하는 모욕 까지 감수해야했던〈다이 어나더 데이>(2002)에 비하면 큰발전이라볼 수 있다.

이제 그가 본드 시 리즈와 본드라는 캐릭 터를 완벽하게 부활해놓고 보 니, 크레이그가 월터 PPK를 집어 들기 전까지 제임스 본드의 공식이 그 동안 얼마나 망가졌는지를 쉽게 잊는 것 같다.

“〈오스틴 파워〉가 다 망쳐놨어요.” 크래이그는본드를 패러디한〈오 스틴 파워〉를 간단하게 정리했다. 그 영화는 패러디의 패러디였다. “<카 지노 로알>를 찍을 즈음, 마이크 마이어스의 조크가 사방에 날아다녔어 요. 우리는 아무것도 할 수 없는 상황이 었죠. 너무나 ‘포스트모던’이 라 더 이상웃기지도 않았습니다:’

민첩한본드 파수꾼인 심슨 와인더가 지적하듯이, 본드 시리즈는 이 미 오래전부터 야단법석과 심기 일전, 지나친 순수함과 지나친 우둔함을 교대로 반복하는 사이클에서 벗어나지 못했다. i960년대 초반에는 상대
적으로 절제된 사건들로 시작하면서 얄미울 정도로 효과적인 플레밍의 소설들 중 최고의 작품이 가진 정신에 근접했지만,1960년대가 끝나갈 즈음에는 터무니없는 온갖기계와 진부한 조크, 삐걱거리는 플롯으로 끝 나고 말았다. 1969년에는 내러티브는 강렬하지만 도구 면에서는 빈약했 던〈여왕폐하 대작전) 이후잠시 시리즈가중단되었다. 이 작품에서는귀 족적인 여주인공 다이애나 리그가 마지막에 죽음을 맞으면서 베스퍼의 등장을 예고했다. 그러나〈카지노 로얄〉과는 달리, 원작으로 돌아•갔던 〈여왕폐하 대작전)은 성공적이지 못했다. 그 이유중의 하나는 가장중요 한 부분을 망각한 데 있었다. 본드 역할의 배우에 숀 코네리 스타일의 슈 퍼스타가 아니 라 호주 출신의 조지 라젠비를 캐스팅 했던 것이다.

그러고는 다시 야단법석으로 돌아갔다. 1973년부터 1985년까지 사 파리를 입은 로저 무어의 시대는 점점 더 비현실적인 연기와 전혀 납득합 수 없는플롯으로 특징지어졌다. 어린 시절 대니얼 크레이그가 처음으로 보았던 007 영화〈죽느냐사느냐>(1973)라는 화려한출발 이후, 로저 무 어의 본드는값싼웃음으로끝나버 렸다. 그는 결코 스파이처럼 보이지 못 했다. 그는 그저 로저 무어일 뿐, 다른 남자로 보인 적이 없었디-. 하지만 적어도 로저 무어는 자유분방한 즐거음은 주었다.

로저 무어는본드를 티모시 달튼에게 넘겨주었다. 세련된 셰익스피어 전문 배우였던 달튼은 플레밍의 원작이 지닌 본드의 콘셉트로돌아갈수 있을 것 같았다. 그러나그의 007은음울하고 모순적이었으며 영화는 이 상하리만치 어듭고 울적했다. 그러자 브로스넌이 나타났다. 폭탄의 4중 주가울려 퍼지지만공허한 액션 영화같았던 이전 시리즈에 비해 그는레 저 웨어 모델 같은 매력적인 외모에 때로는 엄숙한 기백마저 엿보였다.

저1 임스 본드 시 리즈에서 가장 놀라운 부분은 그렇게 오랜 세월 동안 시리즈가 이어져왔음에도 캐릭터의 매력은 여전히 유지된다는 점이다. 오직 영국인만 그런 것은 아니겠지만,그래도특히 영국인은플레밍이 창 조한 영국의 한 비밀요원이 계속해서 이 세계를구하는 것처럼 보이는 점 에 대해 약간 부끄러워하면서도 #함을 느낀다. 그 이유는 뭘까? 대 영 제국의 옛 기억을 가진 영국 남자들에게는 세상을 보고, 새롭고 흥미로운 사람을 만나고, 그들을 죽여서 그 아내와 딸을 빼앗아 정사를 니-누고 싶 은 내 면의 욕망이 제 임스 본드라는 비 범하고 싱반되는 감정을 품은 인물 을 통해 표출된 것이 아닐까?

크래이그는 연령의 고하를 먹-론하고본드의 매력이 남자!을 그토록 오랜 세월 사로잡은 이유가 무엇인지는 잘 모르겠다고 했다. “그 문제에 대해서는 니-도 답을 모르겠어요. 그걸 알아내려고 한다면, 결국은 내가 할 일을 망치게 될 것 같아요.” 그가 말했다. 하지만 그에게는 할 일이 있 다. “본드의 이야기에서 언제나환상적인 부분一비록 잠시 잊은 적이 있 기는 하지만,본드 시 리즈에는 그 부분이 아직도 남아 있다_은 언제나 어두음이 개입된다는 접이에요. 하지만그 어두움도 실은유머 감각을동 반한 어두움이죠. 블랙 유머. 위험에 관한 이야기지만 그 위험은 선의의 위험입니다. 관객은 위험 앞에서도 죽음 앞에서도 코웃음 치는 누군가의 손안에 있으니까요:’

나는 여기서 그의 말에 어떤 포인트가 있다고 생각한다. 위험을 회피 하려 하는 세싱데서,제임스 본드는 자기 자신의 건강이나 안전은 아찔할 정도로 무시한다. “그걸 보는 어린 남자아이들에게는 마치 위대한 축구 선수처럼 보이겠죠. 골을 넣기 직전에 윙크를 하는 조지 베스트처럼. 사 실 그순간은 정말 겁나고두려운 순간이에요. 심장이 뚝 떨어지는 것 같 고 입은 바싹바싹 마르는. 그런데 바로 그 순간에 관중을 향해 윙크하는 거 예요. 그런 장면을 보는 아이는 하늘을 향해 주먹을 불끈 쳐들기 마련 이죠.”

| 임스 본드 영화〈살인 번호〉가 개봉한 지 50년이 흐른 지금, 스물세 번째 본드 영화〈스카이폴〉이 되찾고자 하는 것도 바 I I 로 그런 행복갑이다. 이 작품은〈카지노 로얄〉나〈원팀 오브 솔러스〉의 연속편이 되고자 하지도 않으며 그들보다 더 공허한 작품이 되려는 것도 아니다.〈스카이폴〉은 전작들과는 확연히 차별화되기를 원 한다. 물론 이 작품도고전적인 본드 영화다. 여자, 총, 신기한도구와무 기, 섹스, 위험,유머, 짜릿한홍분, 그리고 절묘한균형을 이루는 현실과 판타지가 있다. 크레이그가밀하듯이, ‘이보다 더 확실할수 없는’본드 영 ^다.

〈스카이폴〉은 4년간의 휴식기를 거치고 만들어진 작품인데, 그 4년 동안 이 영회를 공동으로 제작한 영화사인 MGM이 파산의 위기를 겪었 다가 회생했다. 그 기간 동안 사람들은 이제 앞으로는 007 영화를. 적어 도 크레이그가 본드로 나오는 007 영화는 볼 수 없을 거라고 수군거 렸 다. 그러나그는전혀 심각하게 생각하지 않았다.

사실 그 휴지기는 그와 본드 제작자들에게 재평가를 하는 기회가 되 었다. 크레이그는 변했다. “지금의 나는〈원팀 오브 솔러스〉를 찍을 때와 는 다른 사람입니다.” 그러므로 본드도 변했다. 그는 이언 플레밍이 묘사 한 캐릭터처럼, ‘아이러니컬하고 무자비하며 냉정한’ 본드가 되려 한 적 도 없지만, 시간이 지나고 보니 어느새 그렇게 되어버린 유순하고 입심 좋은 비 밀요원이 되고자 한 것도 아니 었다.

샘 멘데스 감독에게 다가가 본드의 연출을 맡아보는 게 어떻겠냐고 제일 먼저 제안한 사람도 바로 크레이그였다. “쇼 비즈니스가 뭔지를 그 대로 보여주는 스토리죠. 난 그때 뉴욕에 있는 휴 잭맨의 집에 머물던 중 이었어요. 책맨과 연극에 출연하고 있었거든요. 막간의 휴식 시간에 샘 을 만났죠. 내가술을좀 많이 마셨는데, 샘에게 ‘본드 영화한번 만들어보 는 거 어때요?’ 했죠. 그랬는데 샘이 흔쾌히 좋다고 했고, 거기서부터 일 이 눈덩이처럼 커진 거였어요.”

베테랑 본드 제작자인 바버라 브로콜리와 마이클 G. 윌슨도 당연히 그 0ᅵ•이디어에 동조했고, 약간의 심사숙-고를 거친 후에 샘 멘데스는 계 약서에 서명했다. 런던에 있는 던마 웨어하우스(코벤트 가든에 있는 비 영리 예술극장)의 초임 예술 감독이자 오스카상•을 수상한〈아메리칸 뷰 티〉와 으스스한 갱스터 무비〈로드 투 퍼 디 션)을 감독한 멘데스였다. 특 히〈로드 투 퍼디션)에서 크래이그는 기억에 남을 만한 카메오였다. 이 렇게 보면 본드 영화를 만드는 데 멘데스만 한 적 임자도 없었다. 그다음 영입된 인물은수많은 상을 휩쓴 시나리오 작가 존로건(〈글라디에이터〉 〈에비에이터>)이었디-. 촬영은 멘데스와함께 작업한 경력(〈레봄루셔너 리 로드〉〈자헤드-그들만의 전쟁〉)이 있으며 무엇보다도 코엔 형제와 11 편의 영화를■ 작업한 로저 디킨스에게 맡겨졌다. 크레이그는 007을 만든 드림팀에 대해 어떠한 입바른 소리도하고 싶어 하지 않지만, 이 팀은본 드 영화를만들기 위해 모였던 이전의 어떤 팀보다도 예술적인 진실성을 공유한팀이었다.

._ 킨스나 샘 맨데스를 제외하면, 나는 누구보다도〈스카이폴〉

|__ 을 몇 분이 라도 더 보았고, 우리 가 만났을 때 크레이그 본인이

본 완성 장면만큼 본 사람이다. 그래도 내가본 건 고작 4분이 다. 그 4분과공개된 영상, 그리고 내가 어림짐작으로 캐물었을 때 크레 이그가 고개를 끄덕이거나 가로저은 것을 토대로 조합해보면,〈스카이 폴〉의 시동 버튼을 누른 것은 하비에르 바르뎀이 맡은, 여자처럼 부풀린 금발 머리를 한 사이코패스 실바라는 캐릭터다. 주디 덴치의 역할은 전 작들에 비해 그 폭이 훨씬 넓어진다. MI6가 공격을 받고_MI6 사우스 뱅크 지구라트의 지붕이 폭발로 날아가버린다ᅳ MI6의 작전에 대한 정 보가 엉뚱한사람의 손에 넘어간다. MI6에서 가장유능한요원이 사라지 고, 사망한 것으로 추정된다. 그가 돌아오자 그와 M은 조직을 방어하기 위해 비밀리에 나선다.

이스틴불, 상하이. 마•가오, 그리고 스코틀랜드의 하일랜드등을돌며 촬영했지만,이 작품의 거대한세트는 런던에 있다. (제임스본드의 위세 는 영화촬영을 돕기 위해 런던 중앙 관청가가문을 닫 을 정도로 대단했다. 지하철에서의 요란한추격 신도 있 다는데,본드가 런던 지하철 승차권을무기로 썼는지 어 쨌는지는 아직 공개된 바가 없다)

내가본공개 영싱데서, M은 영국국기가 덮인 채 도 열된 관을 이글거 리는 눈빛으로 바라본다. 또 다른 장면 에서,바르뎀은 어눌한 발음으로 제국이 멸밍하고 영국 은 조롱거리가될 거라고 떠든다. 영국 권력층의 이러한 초상이 전작들에서 보였던 것들보다 훨씬 더 현실에 근 접한 어떤 것에 뿌리를둔다는 것은 천재가 아니라도 짐 작할수 있을 것이다.

“이 영화세서는 영국인이 된다는 것이 중요합니다.”

크레이그가 인정했다. “이 영화가 무겁고 엄중하고 그 렇다는 뜻이 아니라 그런 부분을 전혀 생각하찌 않고 영 화를 만들었다면 거 짓말이라고 말하고 싶은 거예요. 본 드가 누구냐도 중요하지만, 그보다도 먼저 보이 누구냐 죠. MI6의 수장으로서 보이 나타내는 것, 그녀의 도덕 성이 중요합니디-.”
이 영화로 명예를 얻은 사람은 제작자나 주연배우만이 아니라는 건 웬만한 사람들은 이미 알고 있다. 제작자들과 힘을 합해, 크레이그와 멘 데스는 전례 없이 호화로운 조연 배우들을 섭외할 수 있었다. 냉철하고 귀족적인 런던 정계 거물 역의 랄프 파인스,MI6의 뇌쇄적인 현장 요원 역의 나오미 해리스, Q 브랜치에서 신무기를 만드는 벤 위쇼, 그리고 로 리 키니어와 앨버트 피니까지.

“어떤 전략이나 계획을 갖고 있지는 않았어요. 하지만 내 마음속 깊은 곳을 들여다보면, 적임자인 작가와감독을 만나고 가장•좋은대본을구합 수 있다면 가장좋은 배우를구하는 것이 가능하리라고 생각했습니다. 그 때 샘이 같은 배를 타게 되 었고, 마음에 드는 대본이 나왔어요. 우리가 후 보로 점찍었던 배우들이 속속합류를 결정했고,그래서 우리는 정말대단 한 작품을 만들수 있었습니다.”

처음 본드 역을 제의받았을 때 크레이그의 원래 의도는 본드에게 현 실주의를 되돌려주자는 것이었다. 아직도 그 생각은 변힘•이 없다. 그러 나 약간의 경솔함을 추구하는 것, 더 많은 조크로 저울추의 균형을 맞추 었다.

“블록버스터 영회를볼 때마다 느낀 건데, 주제가 외계인이든 뭐든 진 실한 면이 있는 한 보기에 나쁘지 않았어요. 사람들이 (본드에 관해서) 나 한테 묻곤 하죠. ‘무기들은 어때요? 조크는?’ 그런데 대본에 없는 건 저도 할수 없어요. 대본에 있어야 그걸로 뭔가를 하는 거죠.”

〈스카이폴〉에서는 대본상 좀 더 가벼운 순간을 위한 기회도 있다고 그는 귀띔했다. “자주 그런 건 아니었지만, '좋아요. 가능한 적딩-한 시점 에’라고 말하곤 했어요. (액션 시원스 둬에) 넥타이를 바로잡으면서든, 내 가 즉석에서 꾸며내 빈정거리는 말이든. 존 로건 같은 작가를 만나면 그 게가능해요;’

그는 로저 무어가 될 생각은 추호도 없디-. “그건 흉내 내기에 지나지 않아요. 난그런 사람이 아닙니다. 난본드를 연기할 뿐이에요. 난 제임스 본드가 아닙 니다. 본드와 나의 차이를 알 만큼은 나를 잘 아시잖아요? 내 가 그다지 재미있는 사람이 아니라는 건 나도 알아요. 그래서 이런 코믹 한순간을 찾아내기 위해서는 나름대로 노력해야한답니다. 좋은 스토리 가 있을 땐 자신감이 느껴져요. 그러면 윙크를 할수도 있고, 관객들이 내 윙크를 좋게 받아줄 수도 있겠죠. 그게 늘〈스카이폴〉 을 위한 내 계획인데, 그러려면 작가도 감독도 최고를 만나야 하는 거죠.”

전작 본드 영화들과는 달리, 촬영이 시작되기 전에 멘데스 감독은 주연급 배우들을 모두 불러 모아 대본을 주고, 존 로건 작가까지 동석한 가운데 영화쎄 쓰일 수도 있는 즉홍 대사#을 만들어보도록 독려했다. 그렇게 한 의도는 무작위적인 개그를삽입하기보다는 로건이 써놓 은 장면들속에 내 재된 유머를 찾아내 려는 것이 었다.

본드의 옛 습관이 되살아나지 않도록, 진행 과정을 예의 주시하기 위해서는 꼭 필요한 조치이기도 했다. “우린〈오스틴 파워〉가 경고음을 울리게 만들었어요. 작업복을 입고 뛰어다니는데, 나는 닥치는 대로 그 사람 들을 죽이라구요? 경고음이 꺼져버립니다. 그럴 수는 없는 거죠!”

안타깝네요,내가 말했다. 난 작업복 입고 뛰어다니 는 그 사람들을 좋아하는데. 내가 말했다.

“참, 우리도 그 사람들 중에서 몇 명을 이 작품에 출 연시 켰어요. 안전모와 웰링턴 부츠를 신겨서 말이죠.”

과거의 본즈에 대한또 다른긍정. 크레이그는숀 코네리 덕분에 유명 해 진 은색 애스턴 마틴 DB5를 운전하고 톰 포드가 제작한 좁은 라펠과 몸에 딱 맞는 실루엣이 일품인 슈트로 1960년대 본드를 연상시 킨다.

“모두 같은 곳에서 만들어졌어요. 가능한한 관객들에게 클래식 본드 의 느낌을 갖게 하고 싶었어요.” 크레이그가 말했다.

크레이그는만약〈스카이폴〉이 자신의 마지막본드 영화가된다 해도 자신이 이룬 것에 만족하겠지만一“바바라한테는 말하지 말아요.” 그는 마침 도착한 브로콜리를 건너다보면서 고개를 끄덕하고 인사했다ᅳ 그 는 이미 두 편의 다음 본드 영화를 계약한 상태다. 그러므로 나는 007이
〈스카이폴〉에서 총을 맞든 어쩌든죽지 않고 살아남을 거라고 생각한다.

하지만 아직은 미래에 대해 이야기할 때는 아니다. “오늘 또 다른 본 드 영화를생각하는 건 내 •상력 밖의 일이에요. 내가 지금 당장하고 싶 은 건 집에 가는 거예요.”

우리가만난 날과그가홍보를 위해 전 세계를 여행하고 있을 10월 사 이 동안은 크래이그가오랜만에 처음으로 작업할 직-품 없이 쉬는 기간이 다. 샘 멘데스 감독과〈스카이폴)의 마지막 몇 장면에 대해 상의하는 일 이 있을지도 모르지만,그 외에는 없다. 배우로서 이런 휴지기는 사실 걱 정을 낳기 마련이다. 하지만 그의 경우는 다르다. ‘‘그동안 논스톱으로 일 해왔어요. 내 모습을보는 게 이젠 지긋지긋해요. 다른 사람들이 내 모습 을 보고 어떻게 느낄지는 상상을 하기도 힘들어요.”

나는 그에게 맞는 말이라고 했다. 우리도 그의 얼굴을 보는 게 지겹다 고. 그는 맥주를 마저 마신 다음 나를 차갑게 쏘아보더니 씩 웃었다. 그리 고 우리는 악수를 나누었다.

“건배!” 그가 말했다. 그러고는 윙크를 했다. 여

인터뷰/Alex Bilmes 사진/Terry O’Neill 스타일리스트/Gareth Scourfield

[I apologize if there are a few missing characters here and there, but I'm afraid I can't proof read it!)

Finally, here is the November edition from the Czech Republic:

page 1
page 2
page 3
page 4
page 5
page 6
page 7
page 8
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page 14
page 15
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Esquire November 2012 001 001   Esquire November 2012 012 012   Esquire November 2012 026 026   Esquire November 2012 054 054   Esquire November 2012 055 055  
Esquire November 2012 056 056   Esquire November 2012 057 057   Esquire November 2012 058 058   Esquire November 2012 059 059   Esquire November 2012 060 060  
Esquire November 2012 061 061   Esquire November 2012 062 062   Esquire November 2012 063 063   Esquire November 2012 064 064   Esquire November 2012 065 065  
Esquire November 2012 066 066   Esquire November 2012 067 067  

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0    tu nejúspěšnější interpretaci tajného agenta britské MI6 od doby, kdy Sean Connery odešel do důchodu. Craigův výkon jasně směřuje ke svému cíli. Jeho Bond je drsný a někdy se chová jako bezcitný nástroj. Craigův Bond je většinou nemilosrdný a neústupný. Jenomže tahle jeho maska není dokonalá a prozrazuje, že Bond má

1    druhou stránku: dovede milovat a cítí bolest. Zkuste do něj říznout: na rozdíl od svých předchůdců bude Craigův Bond krvácet. Jeho zranění se nezahojí ani v další scéně. Možná ho bude bolet ještě

i v dalším filmu. Craigův Bond představuje odklon od sardonického a uhlazeného agenta, kterého před tím hrál Pierce Brosnan.

S Craigem se setkáváme v červnu, v jedné hospodě v severním Londýně, která je toho odpoledne kvůli nám pro veřejnost zavřená. Rozhovor probíhá u piva a nutno říct, že Craig si ho opravdu zasloužil. Teprve den před tím totiž dotočil poslední scénu filmu SkyfallSkyfall, jeho třetí bondovky.

S Craigem jsem už jeden rozhovor dělal. Během prvního setkání byl opatrný a slova z něj lezla jako z chlupaté deky; postupně se však proměnil v docela příjemného společníka, který, když má náladu, dovede mluvit o vážných věcech s humorem, jehož charakter je stejně vyzývavý jako sklenka suchého martini.
Ze zkušenosti vím, že Craigovi se hnusí mluvit o svém soukromém životě. Po pravdě řečeno se mu nechce mluvit ani o svém pracovním životě. Představa hodiny strávené mezi novináři, kdy musí mluvit o práci, se vůbec neshoduje s Craigovou představou dobře stráveného času. Moc dobře ví, že herec, který mluví o své technice, většinou vypadá jako pitomec. Craig nechce, aby ho veřejnost vnímala jako člověka, který se rád poslouchá, jak mluví o tom, jak je dobrý. Nechce být chvastounem. „Vždyť mě znáš,“ říká Craig, když se dostaneme k tématu manýrů a privilegií, která souvisí s úspěchem a se životem celebrit.

„Já nejsem takový.“ Opravdu si myslím, že on takový není.

Jeho příběh, tak jak ho už kdysi vyprávěl mně a spoustě dalším, je velice prostý: kluk z herecké školy, který se postupně vypracoval přes divadlo, televizi a nezávislé filmy až ke kasovnímu trháku, který z něj udělal hvězdu. Věk 44 let. Dcera z prvního manželství. Nedávno se oženil podruhé s herečkou Ráchel Weisz. Žije mezi Londýnem a New Yorkem. Hodně čte, má levicové tendence a v televizi se dívá na sport. Tohle už víme. Takže se snažíme držet Bonda. Během toho, co o něm mluvíme, Craig občas ukáže, aniž ho k tomu musím vyzvat, jaké to je pro zádumčivého muže s uměleckými sklony, který pochází z relativně skromného prostředí na předměstí Liverpoolu, když se najednou stane novodobým ztělesněním mužského hrdiny.

Do role Bonda byl Daniel Craig obsazen poprvé v roce 2005. První reakce fanoušků filmu byly poněkud rozporuplné - mírně řečeno. Jenomže jeho první bondovka, Casino RoyaleCasino Royale, se stala ohromným triumfem. Byl to po dlouhé době návrat ke zdrojovému materiálu (protože film se pevně držel Flemingovy povídky). Byl o pokru ve velmi vysokých kruzích a také o románku mezi Bondem a Vesper Lynd, kterou hrála Eva Green - nejlepší Bond girl po mnoha letech.

Casino RoyaleCasino Royale tak této nejdelší filmové sérii v dějinách vrátilo sex a nebezpečí. A také vážnost
a upřímnost, protože Craig je tím nejméně prostořekým hercem, který kdy hrál Bonda. A hlavně: Craigův Bond je výsostně britská záležitost. Žádný agent 007 nebyl ještě tak nadupaný, ale ani tak servaný a ubitý. Na druhé straně notoricky známá scéna Bonda v plavkách, která zakryla slavnou bikinovou scénu s Ursulou Andress ve filmu Dr. NoDr. No, se jasně postarala o to, aby byl Craigův Bond u žen stejně populární jako kterýkoli Bond před ním. Film Casino RoyaleCasino Royale nakonec vyhrál cenu BAFTA a byl nominován na osm dalších včetně Oscara za nejlepšího herce pro Craiga a vydělal téměř šest set milionů dolarů. Craig má tedy právo být pyšný na tento film a jeho úspěch, ale jeho proměna z nezávislého herce na provotřídního lamače srdcí byla náročná.

„Dostal jsem zabrat a změnilo to můj pohled na svět. Změnilo mi to život.“ Ale... Jak je to možné? „Byl jsem z toho všeho zatraceně zmatenej. Sláva a bohatsví mě najednou strašně vyděsily. A já nepocházím z prostředí, kde jsou bohatí lidé. Takže tím pádem tam není moc těch, koho bych mohl požádat o radu, co s tím vším dělat,“ svěřuje se Craig.

Kdysi bych si myslel, že nově zrozená megahvězda se s prosbou o pomoc může obrátit na nějakou už zajetou megahvězdu. Jenomže Craigova vrozená zdrženlivost by mu něco takového nedovolila. „Na něco takového jsem příliš hrdý,“ říká Craig.

Nebyla to přece jenom legrace, ta první vlna slávy? „Já na tom nic legračního neshledal. Nejsem moc materialistický. Chci říct, jistě,

miluj hezké věci, jenomže mi kurva záleží na tom, co mám v hlavě, chápeš? Takže vyznat se v tom všem bylo skutečně..Odmlčí se. „Znáš tu otázku? ,Víš, kdo jsi?1 A já myslím, že jsem několik let nevěděl, kdo vlastně jsem. V takové situaci musíš najít cestu zpět.“

Tohle období existenciální úzkosti a nejistoty trvalo docela dlouho. Teprve až po tom, co dotočil obě bondovky, začal mít kontrolu nad novou situací a začal si užívat svou výsadní pozici. Díky natáčení filmu SkyfallSkyfall „jsem si vzpomněl, proč to všechno vlastně dělám. Víš, před Bondem jsem natočil hodně filmů a svým způsobem mi bylo totálně u prdele, co si o tom myslí lidé.“ Vzpomíná si na celostránkový článek v Evening Standard, který o jeho výkonu ve filmu o Francisku Baconovi Láska prokletá napsal věhlasný kritik Alexander Walker. „Pámbu mu dej věčnou slávu, ale byla to stránka nenávisti. Ale pak, v jiným plátku, se zase objevila stránka plná lásky. Tak si řekneš: ,Nasrat.‘ Prostě jsme dosáhli polarizovaných názorů. To je nejlepší rekace.“

Jenomže Bond je něco zcela jiného: „Bondovky žijou a umíraj na svý popularitě. Takže tě nutí dbát na to, co si lidé myslí. A já jsem do toho velmi hluboce zapojen. Pořád myslím na to, že když to nevydělá prachy, jsme v prděli. Takže jsi pořád pod tlakem, který je nepřítelem jakékoli umělecké formy, především herectví. Pokud si děláš starosti s tím, co si lidé budou myslet, jsi nervní. Jenomže Bond kurva nesmí být nervní! Musí být v klidu a užívat si to, protože to je to, co chtějí lidé vidět. Chtějí vidět chlapa, který si užívá strach, který si užívá šampaňské, martini a který si užívá krásný ženy.“

Navíc lidé chtějí vidět, že herec, který hraje Bonda, si užívá sám sebe. „Myslím, že jo. Nechtěj ho vidět, jak trpí, jak kuňká ,Ó můj Bože, já takhle žít nemůžu*. To nejde. Musíš se prostě chovat jako:

,Tohle je super. Podívejte se na mě!‘“ Pro Craiga bylo zvlášť těžké dělat, že se baví, když natáčel pokračování Casina Royale Quantum of SolaceQuantum of Solace, které mělo premiéru v roce 2008. Na plátně by to totiž vypadalo blbě, protože Bond zde byl pomlácený, zmatený a truchlil. A k tomu bylo nutné přičíst potíže s produkcí.

Thriller o pomstě, kde Bontl pátrá po těch, co zradili Vesper, byl první bondovkou v dějinách, která navazuje přesně tam, kde její starší sestra skončila. To však moc nefungovalo, hlavně proto, že kvůli stávce scenáristy se některé části filmu musely točit bez scénáře. „Takže nakonec to dopadlo tak, že jsem Quantum vlastně pomlouval,“ říká Craig. „Ale to jsem nechtěl, protože vím, že ten film je tak dobrý, jak jsme ho jenom mohli udělat. Jenomže jsme neměli scénář a strašně jsme s tím zápolili. James Bond byl ve filmu Quantum of SolaceQuantum of Solace sklíčen zármutkem. Ztratil lásku svého života, a to jsem vlastně hrál v celém filmu. Bylo to proto temnější a navíc se chtěl Bond pomstít. Já si za tím stál a myslel jsem si, že je to správné."

Navzdory tomu, že Quantum nepředstavovalo zcela uspokojivý zážitek pro diváky, a dokonce ani pro tvůrce filmu, je nutno uznat, že byl pořád lepší než Dnes neumírej, poslední bondovka před tím, než opratě převzal Craig. Ve filmu Dnes neumírej byl chudák Brosnan přinucen vypořádat se nejenom s bandou severokorejských megalomanů, ale také s Madonnou, která byla v maličké roli stejně příšerná jako její píseň. Jako třešinku na dortu přidali Brosnanovi potupnou scénu, kde musel řídit neviditelné auto.

Dnes, kdy se zdá, že vše dostalo nový náboj a je předěláno a připraveno k misi pobavit to nejnáročnější publikum, je docela snadné zapomenout na to, jak špatná byla úroveň bondovek, než se Craig poprvé chopil zbraně Walther PPK.

„Špatný odvar z Austina Powerse," hodnotí Craig a přiznává, že bondovky před Casinem byly vlastně parodií jedné parodie.

„V době, kdy jsme dělali Casino, si Mike Myers dělal legraci už ze všeho. Byli jsme v situaci, kdy už to nešlo posunout výš. Všechno dostalo tak podivný postmoderní ksicht, že už to ani nebylo vtipné.“ Jak poznamenal znalec bondovek Simon Winder, z filmů se stalo něco, čeho se člověk rychle přejí a musí se pak vyzvracet. Přehánělo se ve všem: jak v otevřenosti, tak i v pitomostech. Série filmů se rozjela začátkem šedesátých let a první z nich se docela věrně opíraly o Flemingovo dílo. Jenomže už ke konci toho desetiletí začaly být všechny přeplněny starými vtipy, komickými hračkami a stály na zápletkách, které byly víc než chatrné. K jistému vybočení došlo v roce 1969 u filmu Ve službách Jejího Veličenstva. Tahle bondovka měla dobře vystavěný příběh, ale postrádala tu nezbytnou část, kterou jsou právě zajímavé věcičky, díky nimž Bond ve většině případů vyhrává. V tom filmu se dokonce objevila i klasická lady v podání Diany Rigg, která umřela v závěru filmu a tím předznamenala Vesper. Jenomže na rozdíl od Casina nezaznamenal tenhle návrat ke zdroji velký úspěch, protože postrádal to zásadní - správného herce v roli Bonda. George Lazenby se stal spíše předmětem hospodských drbů než superstar ve stylu Seana Conneryho.

Období bondovek v letech 1973 až 1985 nebylo charakteristické jenom díky Rogeru Mooreovi, ale také díky plochému herectví a zcela nepřesvědčivým zápletkám. Moore sice zaznamenal úžasný start, ale ke konci své „služby" už hrál pouze pro laciné pobavení publika. Nikdy nebyl zcela přesvědčivý jako špion - vžd}fcky byl přesvědčivý pouze jako Roger Moore - ale na druhé straně byl alespoň zábavný.

Moore přenechal svou práci Timothymu Daltonovi, uznávanému shakespearovskému herci, který představoval jakýsi příslib návratu k původní Flemingově koncepci Bonda. Jenomže jeho agent 007 byl tvrdohlavý a konfliktní a filmy byly podivně mrzuté. A pak se objevil Brosnan, muž perfektního vzhledu, který občas působil přitažlivostí módního modela. Vj^sekl čtyři explozivní filmy, kterým však Bond ve filmu SkyfallSkyfall. Obleky mu navrhoval Tom Ford. Automobil Aston Martin. Pohoří Skotsko.
chyběla dostatečná dávka akce.

Přes to všechno se Bondovi podařilo zachovat si svůj půvab. Craig tvrdí, že na Bondových příbězích je úžasné, že si zachovaly černý humor. Ve světě, který má averzi vůči riziku, je Bond až děsivě lhostejný vůči svému zdraví. „Když se na to dívá nějaký kluk, je to jako sledovat skvělého fotbalistu těsně před tím, než vstřelí gól. Je to moment, kdy máš srdce až v kalhotách.1'
Film SkyfallSkyfall nemá vlastně za cíl nic jiného než to, co se povedlo po premiéře filmu Dr. NoDr. No před padesáti lety - tedy rozpoutat ohromnou euforii a nadšení. Tahle třiadvacátá bondovka však nemá být ani pokračováním filmů Casino a Quantum a stejně tak nejde ani

o    zcela neznámou novinku. Film SkyfallSkyfall nemá nic společného se svými nejmladšími předchůdci:

Film SkyfallSkyfall je klasický Bond: holky, zbraně, vychytané věcičky, sex, nebezpečí, humor, vzrušení a dobře vyvážená směs reality a fantazie. Jak to definuje sám Craig, bude to film „se vším všudy“.

SkyfallSkyfall přichází do kin po čtyřech letech od premiéry poslední bondovky. Během té doby studia MGM sváděla boj s bankrotem, kterému se nakonec vyhnula. Několik lidí se domnívalo, že tato situace je předzvěstí konce Bonda nebo alespoň Craiga v jeho roli. Ale on sám tvrdí, že si ohledně toho nikdy nedělal velké starosti a naopak tahle pauza poskytla jak jemu, tak i producentům čas k tomu, aby se dal tak trochu dohromady. Craig se změnil a lze předpokládat, že se změnil i jeho Bond. Nový Bond by tedy neměl být takový, jak jej definoval Fleming -ironický, brutální a chladnj? -, ale ani uhlazený, jak jej už známe.

Ve skutečnosti je to právě Craig, kdo se postaral o to, co dnes patří k nejzajímavějším faktům ohledně nového Bonda - oslovení britského filmového a divadelního režiséra Sama Mendese, aby se chopil režie. „Je to klasický příběh ze světa showbyznysu. Byl jsem na večírku u Hugha Jackmana v New Yorku, protože jsme hráli v jedné hře. A byl tam i Sam. Dost jsme toho vypili, a tak jsem se Sama na rovinu zeptal,
jak by se mu líbilo, kdyby režíroval Bonda. A on řekl jo.“ Producenti bondovek Barbara Broccoli a Michael G. Wilson to přijali s nadšením a netrvalo dlouho a Sam Mendes podepsal smlouvu. Bývalý režisér ze slavného londýnského divadla Donmar Warehouse, režisér oscarového snímku Americká krása a v neposlední řadě režisér filmu Road to Perdition, kde se objevil

i    Daniel Craig, byl tím nejvhodnějším člověkem, který mohl režírovat SkyfallSkyfall. Dále je k tomu nutné přičíst slavného scenáristu Johna Logana (Gladiátor, Letec) a kameramana Rogera Deakinse, který s Mendesem už spolupracoval na filmech Nouzový východ a Mariňák, ale nejvíce spolupracoval s bratry Coeny, se kterými natočil jedenáct filmů. Není pochyb, že SkyfallSkyfall měl pohromadě takový tým, jaký se ještě nesešel u žádné bondovky.

Příběh SkyfallSkyfall spouští blonďatý psychopat jménem Silva (Javier Bardem, který hraje geniálního bondovského padoucha). Role herečky Judi Dench je mnohem rozvinutější a rozpracovanější než v předešlých bondovkách. Jde totiž o to, že její M se ocitne pod tlakem a celá organizace MI6 v ohrožení. Tento fakt je ve filmu podtržen fantastickou a velkolepou explozí. To, co M komplikuje život, je fakt, že nejslavnější agent organizace je nezvěstný a předpokládá se, že je mrtvý. Když se však znovu objeví, pouští se spolu s M do boje o záchranu jejich říše. Dále lze prozradit, že film se natáčel v různých lokacích, jako například v Turecku, v Šanghaji, v Macau, ale také v Londýně. Reputace filmu je tak velká, že britské orgány věří v jeho důležité poslání. Právě proto nebyl žádný problém uzavřít celé ulice v centru Londýna, aby tam v klidu mohl pracovat filmový štáb. Stejně tak se jedna velká scéna natáčela v útrobách metra.

V materiálu, který jsem viděl, je M, která civí na několik rakví zabalených do vlajky britského království. V dalších záběrech je zase Bardem, který říká něco o konci impéria a o tom, že Velká Británie se stane vtipem. Člověk pochopí, že tento obraz britské moci může mít své kořeny v něčem, co má k realitě blíž, než tomu bylo.

Lights! Camera! Action!

Je tomu už padesát let, co protřelý světoběžník a chladnokrevný zabiják britské tajné služby s filmem Srdečné pozdravy z Ruska naposledy navštívil Istanbul. A teď je zpátky, aby se objevil v novém filmu s názvem SkyfallSkyfall. Možná že jste ho už v kině viděli. Pak díky této exkluzivní reportáži dostáváte ještě navíc možnost nahlédnout na plac, kde se natáčí pravděpodobně ta

nejlepší bondovka v dějinách.

Když James Bond ve filmu Srdečné pozdravy z Ruska letěl z pověření do Istanbulu, měl u sebe drahý kožený kufřík (Swaine Adeney Brigg) uzpůsobený tak, aby v něm ukryl padesát nábojů ráže .25, padesát zlatých mincí, dva ploché vrhací nože, tlumič ukrytý v tubě s pěnou na holení značky Palmolive a kyanidovou „smrtící pilulku" (kterou okamžitě spláchl do záchodu). Když jsem do Istanbulu letěl já, abych napsal článek o tom, jak probíhá natáčení nejnovější bondovky SkyfallSkyfall, měl jsem u sebe batoh Millets uzpůsobený tak, abych v něm bezpečně převezl dvě stě listů papíru poznámkového sešitu formátu A4, padesát liber v tureckých lirách, dvě propisky a tubu s opalovacím krémem faktoru třicet (kterou jsem musel zahodit před vstupem do letadla). Od té doby, co James Bond začal služebně cestovat, prošel několika změnami. To, co zůstávalo stále stejné, bylo jeho příslušenství a vybavení: vždy špičkové, i když někdy možná trochu nepraktické. Jenomže kvalita všeho, co mu nějak mělo sloužit, byla vždy nezpochybnitelná.

A netýkalo se to pouze zásadních věcí, od hodinek přes ručně šité obleky, na zakázku vyrobená auta až po exkluzivní koktejly, kterými se povzbuzoval. Vše, co mu mělo sloužit nebo na co narazil, bylo téměř dokonalé. Bondova práce vyžaduje maximální diskrétnost, jenomže Fleming ho na pochůzky vybavil, jako kdyby šlo o zeměpisného badatele. Jeho stvořitel chtěl podvědomě vzkřísit archetypální postavu badatele devatenáctého století - dobyvatele a místokrále -, který cestoval, aby vládl světu. Jenomže ti, kdo Flemingovo dílo četli, také vědí, že spisovatel chtěl, aby jeho hlavní postava byl i opravdový sekáč. Proto je obklopen všemi těmi hračkami pro dospělé.

Flemingovy knihy podobně jako ostatní anglické klasické dobrodružné romány pojmenoval kritik Colin Watson jako „snobárnu s násilím". Jenomže příběhy s Bondem jsou vlastně prázdninami s násilím. Tyhle vracející se mužské fantazie představují prázdniny od všední reality. Hrdinské čin}? jako takové můžeme klidně brát s rezervou, ale každý si je rád přečte, když se potřebuje odreagovat. Bývá tomu tak poslední týden v červenci a během prvního týdne v srpnu, kdy je šance, že se ocitneme na takových místech jako pláž v Karibiku, lázeňský ledový hotel na Islandu nebo Istanbul... Jo, ten Istanbul. Kromě toho, že jsem navštívil jednu z hlavních lokací filmu SkyfallSkyfall, měl jsem také domluvenou schůzku s mužem, který je něco jako Bondův cestovní agent - stará se o to, aby byly kufry sbaleny a zamluveno vše, co je potřeba. Tento muž je strůjcem počasí jak pro Bonda, tak i pro miliony z nás, kteří s agentem rádi prožíváme jeho dobrodružství. Tenhle muž musí zasáhnout ve chvíli, kdy skutečné počasí odmítá poslušnost. Zrovna během natáčení se chlapík musel potrápit s tím nejhorším, co se mohlo stát: nejenom s krachujícími studii MGM, která jsou s bondovským dílem neodmyslitelně spjata, ale také s bouří přímo na plače.

Není zvláštností, že Bond si občas dělá, co chce. V Srdečných pozdravech z Ruska se dočteme o jeho perverzní zálibě v pochybných románcích, které se tak pevně vážou ke staromódním kontinentálním hotelům.

V Istanbulu se ubytuje v hotelu Kristal Palaš, kde také absolvuje několik pestrých setkání s pochybnými cizinci. Jde možná o ne zcela politicky korektní, ale rozhodně zábavné vyjádření toho, co se ve skutečnosti odehrává za operacemi tohoto typu. Takhle nějak jsem to popisoval svému kumpánovi ze Slovinska, který vydržel se mnou až dlouho do noci sedět v baru na střeše našeho hotelu. Pod námi byla světla lodí, která poklidně pomrkávala na temné vody Bosporu. Můj společník mi najednou přes celý stůl poslal svou sklenku olejovité rakije. „You must try,“ vyštěkl na mě a světla na Bosporu se za chvíli roztančila jako šperky na řetízku břišní tanečnice.

Druhého dne jsem se s těžkou hlavou trmácel přes město na schůzku s lidmi od filmu, která měla proběhnout ve starém přístavu. Taxík zastavil před spletí umělých zátarasů na náměstí Eminonů a řidič hrdě prohlásil: „James Bond!“ Sláva a vzrušení, které toto natáčení vyvolává, zaplavily celé město. Zátarasy byly postaveny kolem jakéhosi skladu potravin - spousta nádob na sůl, koření a cukr - hned vedle starobylé Nové mešity ze šestnáctého století. Ve stínech minaretů se rozkládal pouliční trh. Jediné, co do zdejší atmosféry nezapadalo, byla zadní kapota černého Audi A5, která děsivě čněla nad pulty jako čerstvě ulovená velryba. Scénář požadoval jedno Audi, které mělo skončit pohřbeno pod zbožím místní produkce. Po pravdě řečeno, těch vozů bylo podle technického scénáře zapotřebí celkem patnáct. Každé z nich sehrálo významnou roli v akční scéně pouliční honičky, která si navíc vyžádala pět set komparzistů a třísetčlenný štáb. Pouliční trh, který stál přede mnou, byl dekorací pro natáčení filmu SkyfallSkyfall. Každý stánek stavěli filmoví architekti.

Dalším místem, kde se zjevně setkával Východ se Západem, kde se místní umělecké tradice začaly prolínat s řemeslem mezinárodního filmového štábu, je Velký bazar Kapaligar§i. V útrobách tohoto majestátního labyrintu se nachází největší nákupní centrum starobylého světa.

od starobylými sloupy tohoto místa se rozkládají ulice s vyzývavými názvy jako Ulice výrobců turbanů. Zde se prolínají všechny možné kulturní vlivy, které nějakým způsobem určovaly dějiny celého Istanbulu.

S ohledem na poselství a na velký význam, který tohle místo v sobě udržuje ještě z dávných dob, se lidem ze štábu podařilo získat nad vším kontrolu velmi jednoduchým způsobem: Oslovili místní pouliční prodavače a nosiče, označili je jednoduchým náramkem a najali si je jako komparz. V atmosféře, která byla plná vůně kafru a pižma divokých koček, postávali drobní muži v hnědých oblecích, zatímco jejich starobylé pracoviště se stalo hřištěm pro muže v šortkách.

Tihle kluci byli všichni většinou z Essexu nebo z Kentu a každý z nich propadl filmařině. Jejich šortky, na kterých visely vysílačky, kovové kolíky a lepicí pásky, se staly jasným poznávacím znamením. Jeden z techniků stál před výlohou obchodu s hliněnou keramikou a na ramenou mu viselo obrovské sombrero. Muže sledoval důstojně vyhlížející obchodník, který si svůj pohled i své sebevědomí schovával pod dlouhou ofinu. Je možné, že místním lidem scházelo zdejší pravidelné handlování, protože hloučku obchodníků se podařilo najít místo, kde zrovna pobýval Craig. Vlasy měl ostříhané nakrátko a jeho těsný oblek
chvílemi vypadal tak, jako by byl protkán stříbrnými vlákny.

V jednom uchu měl umístěné černé sluchátko. Craig se velkoryse věnoval jistému pánovi, který se mu chtěl pochlubit svými černobílými fotkami, pořízenými pravděpodobně během prvního natáčení téměř na den přesně před devětačtyřiceti lety. Sean Connery tu točil Srdečné pozdravy z Ruska a pohyboval se v útrobách podzemního rezevoáru Cisterna Basilica, kterou nechal postavit císař Justinián.

Na jiném místě se zase několik členů štábu a techniků organizovaně motalo kolem čtyřkolky, která vezla kameru s příslušenstvím. Kousek od nich byl kaskadér. Tenhle chlápek, stejně oblečený jako Craig, ždímal motorku, která vystřelila se zvednutým předním kolem. Stál jsem v davu lidí, kde každý měl v uchu sluchátko a dívali se na monitor. Neubránil jsem se výkřiku, když se kolem nás prohnala motorka s kaskadérem bezprostředně sledovaná čtyřkolkou s kamerou. Na tomto záběru pracovala velká skupina lidí, a kdyby se něco nepovedlo nebo kdyby se něco zničilo, vyvolalo by to domino efekt, který by ohrožoval další průběh této velké hry. Tohle vše jenom proto, aby se naplnil scénář. Podle toho, co se mi povedlo zjistit, cílem natáčení byl příběh, ve kterém Bond musí udělat vše pro to, aby napravil reputaci britských.

tajných služeb. Všechny tyhle scény, které se natáčely pár dnů, si žádaly dlouhé měsíce příprav. Nemluvě o tom, že sem bylo zapotřebí dostat poměrně drahé protagonisty včetně Craiga. Za hladký průběh toho všeho zodpovídal sedmdesátiletý člověk, se kterým jsem se sešel v postranní uličce Velkého bazaru. Michael G. Wilson je scenáristou, hercem drobných rolí a už déle než třicet let producentem filmů o Bondovi. „Tohle tady je jenom malý záběr," řekl Wilson a hlavou ukázal směrem ke štábu. „Jenomže i to vyžaduje enormně velkou přípravu. Musíte přesvědčit všechny majitele obchodů, aby sem přišli v neděli, což je jejich den volna, otevřeli a převlékli se. Pak potřebujete dav, pětačtyřicet kaskadérů a samozřejmě se musíte postarat o to, aby se nikdo nepřipletl do cesty té motorce.

A tohle všechno se musí udělat jenom kvůli drobnému kousku filmu, tedy pokud máme na mysli čas strávený před plátnem. Jen tak z legrace jsem procházel všemi papíry, které jsme připravovali před tím, co se tady Bond točil naposledy. Mám pocit, že tehdy to bylo mnohem jednodušší. Ale stejně tak to i tehdy byla svým způsobem složitá a komplexní operace. Teď máme k dispozici mnohem více efektů, se kterými si můžeme pohrávat, a tudíž jsou i naše očekávání vyšší. A veřejnost si vždy bude žádat víc vzrušení.1* Wilson je nevlastním synem Alberta R. „Gubby“ Broccoliho, muže, který se postaral o to, že se Flemingovy thrillery staly kasovními trháky.

Wilson se dnes o produkční práce dělí s Broccoliho dcerou Barbarou „Byl jsem ještě studentem, když můj otčím točil Goldfingera. Šel jsem ho navštívit, když zrovna natáčeli v pevnosti Fort Knox, a on mi řekl, že by se mu hodil produkční asistent. Nakonec jsem na tom filmu dělal tři týdny.

Někdy se stalo, že potřebovali dvojníky, a tak jsem dělal dvojníka i Bondovi. Jindy jsem zase hrál Korejce. Stala se z toho tradice a myslím, že v každém filmu jsem se zatím objevil."

Několik probdělých nocí nad filmovou sbírkou potvrzuje, že Wilson se skutečně objevil v roli gondoliéra ve filmu MoonrakerMoonraker, na prvním snímku, kde pracoval jako producent. Ztvárnil však i řeckého pravoslavného kněze (Jen pro tvé oči), sovětského aparátníka (Ghobotnička), operního nadšence (Dech života) a hráče v kasinu (Jeden svět nestačí). Tohle všechno jsou ale jen takové vtípky. Důležité je to, že Wilson je něco jako principál a herecký manažer bondovské společnosti. Je to on, kdo vyjednává o penězích, kdo hledá talenty a zápolí s překážkami. Pokud má být někdo ve skutečnosti takovým agentem, jakého stvořil Fleming, tak to bude nejspíše Michael G. Wilson.

Nebál se však ani na chvíli, že by Bondův příběh mohl začít ztrácet důvěryhodnost? Brit, který zachrání svět?

„Podívejte se,“ namítl Wilson, „kdykoli se Spojené státy do něčeho zapojí, Britové jsou tam s nimi. A řeknu vám, že jsme ' absolvovali neformální rozhovory.

Is britskými speciálními jednotkami. Radí nám a jsou pořád velice aktivní. Samozřejmě se drží v ústraní, i ale můžu říct, že Bond není až tak mimo mísu, jak byste si mohl myslet."

Bond žije a já viděl jeho mistra, jak tahá za nitky. A pokud jsem Wilsona pochopil správně, tak současný agent 007 byl upraven podle rad dnešních zasvěcených mužů. Ale kdo přesně je tenhle Bond? Rozhodně už to není Flemingova postava. „Fleming si Bonda představoval poněkud uhlazeněji, než je ten Bond, který se objevuje ve filmech. On by v té roli nejraději viděl Davida Nivena nebo někoho lakového. Jenomže práva získali Harry Saltzman a ,Cubby‘. Byli to Američané a chtěli pro roli poněkud robustnější postavu. Neznamená to však, že by už Bond nebyl Brit." Musím přiznat, že v soukromí budu fandit tomu ílemingovskému, uhlazenějšímu a poněkud sofistikovanějšímu agentovi 007, který je přece jenom větším ztělesněním muže. Nejde pouze o takové ty profláknuté oblasti jako ženy a zbraně, ale patří tam i užitečné věci, jako například jaké instrukce dát své hospodyni pro přípravu vajíček k snídani nebo jakou marmeládu má použít. Flemingův Bond je rozhodně rozmazlenější než středověký sultán, který nevěří svému ochutnavači jídel. Ano, jsou lidé, kteří právem upozorňují na to, že tento Bond projevuje typické známky staromládenectví. Zároveň si však uvědomují, že tím neztrácí sympatie, protože je zjevné, že agent 007 se od těchto manýrů dovede oprostit a žít bez nich. Tedy když chce. Jako kdyby četl moje myšlenky, přišel Bond znovu na scénu. „Pošli ho do pekla, Michaeli," zařval Craig, když se blížil ke mně a k producentovi. Myslím, že to byl pouze nějaký vtípek, ale v každém případě mě napadlo, jestli by si tenhle Bond dovedl připravit pořádnou snídani. To tedy pochybuji.

Pár minut nato se měl Craig znovu vrátit na plac, kde měl vystřídat svého náhradníka a natočit pár záběrů, jak jezdí na motorce. Jenomže v tuhle chvíli se věnoval něčemu jinému: ve Velkém bazaru si zjevně našel pár známých a nechal se jimi zavést do obchodu. James Bond se chystal nakupovat suvenýry.

(As with the Korean, I apologize for any mistakes in the transcription).

 
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