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http://filmow.com/james-bond-for-real-t93183 Por trás das câmeras no filme 007 Casino Royale. James Bond: For Real James Bond: For Real
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00:07A CIDADE NO BRASIL
00:30A CIDADE NO BRASIL
01:05A CIDADE NO BRASIL
01:05The stunts are as near to real as they can possibly be, which in this case is very real.
03:13The pre-running came in because our writers suggested we'd looked at some tapes. We thought it would be an
03:20exciting thing to introduce.
03:23The sport came to the attention of the writers when they saw a documentary called Jump London, which featured Sebastian
03:29performing his discipline around various London landmarks.
03:37This is parkour, the anarchic new sport of free running.
03:42Free running is a new urban sport and was created by Sebastian Foucon, born out of the childhood games of
03:50him and his friends.
03:51Free running is the art of moving from A to B as quickly and as efficiently as possible. There's an
03:55obstacle in your way. It's about being able to go over it or find a way around it.
04:08We try to find something very functional, very efficient, more than to do something like tricks, something like this.
04:17It's an art form and throwing yourself over impossible gaps and using the urban surroundings as your canvas to throw
04:26yourself across buildings and Sebastian's particularly good at it.
04:29It was important to get a sequence that was unusual and different. And it's a foot chase. It's simply the
04:37two guys, one chasing the other. And you have this free runner who's incredibly lithe and powerful. He can run
04:44and jump almost like a ballet dancer against Bond who has the power and the strength but doesn't have the
04:51finesse.
04:53This scene's all about stunts. It's a very fast paced action sequence, a lot of breakaway, special effects, bits and
05:00pieces. So it's just a one continuous journey all the way through. It's really, really fast, free running.
05:08Bond chased me now, like all the time. But now he's with a digger. And the digger will crush the
05:16house over there. And me, I have to fire him like this, bang, bang, turn, bang.
05:22And running.
05:23We've got a 17, 18-ton digger, up to about 35 mile an hour. Great big run up of about
05:28300 yards. And we're going to hit the side of that truck there. Got a few pyros in there, a
05:33few sparks and a lot of debris.
05:35All these things, blah. This is why I need to run very fast.
05:40This is a stunt, OK? And, you know, God forbid, anything goes wrong, his brakes jam, anything like that, or
05:47whatever happens, fails, it can just keep coming.
05:50So we don't want anybody in this area here at all. All the unit, keep way back. If you're not
05:57involved in the shot, you've got to keep well back.
06:19Next, the digger needs to smash into the hotel construction, narrowly missing Malacca.
06:24There was an existing opening in the concrete slab, which they basically filled in with a steel frame, which is
06:29then filled in with breakaway slab.
06:32The course has been worked out very carefully. When the digger hits the slab, basically the whole thing crumbles.
06:38So that was all worked out by special effects and the size of the digger, obviously, which is massive in
06:43relation to the building.
06:45Then it's all finished to look like concrete and hopefully you don't realise it's not real.
06:48We came up with the idea back in England that it would be nice to see the bucket hit the
06:52concrete and it basically causes a wave of concrete behind the bomber.
06:55So Chris Corbold built a couple of rigs and experimented with them and he came up with what he came
07:00up with.
07:00And Martin's whole brief on all this is we want to do it for real and we want to do
07:04it for real as well.
07:04For us, it's so much more satisfying. Marvin's done a fantastic job of leaving the time. It's just perfect.
07:21How was that, Marvin?
07:22Oh, the nuts.
07:23Enjoyed it?
07:24Yeah, can I say the nuts?
07:28No, that was nice. That was nice, that one. I like that.
07:31Good. Great to enjoy it.
07:32Cheers.
07:45While work continues by day on the construction site, the action team spend their evenings piecing together storyboards for the
07:52next stunt sequence, a dramatic chase around Miami Airport.
07:59It's a huge sequence. Miami Airport, we bring into the equation tugs, petrol tankers, luggage, all of these things combined.
08:08I mean, it looks terrifying.
08:11Back on set, Martin Campbell is determined to keep on schedule and now has two units shooting the free running
08:17sequence.
08:18Action!
08:19Martin just wants to crack on and get, you know, get as much energy into it as possible at the
08:24moment.
08:24And the energy of it's about making it as exciting to watch as possible.
08:28Having trained three months for the role, Daniel Craig is keen to do as much of the action as possible.
08:34Of course it's an action scene to start with, you know, and he's extremely good at action. He looks very
08:38impressive, he moves impressively, and he handles himself extremely well, so that was a big relief.
08:44It's dangerous stuff, so we have to be on top of it, but the energy's in the right place and
08:49the concentration levels are in the right place.
08:52Gary's boys, you know, Ben, who doubles me, is my fight double, who's, you know, he's a fighter, I mean,
08:59and I've got to try and be at his level, otherwise there's no point.
09:05I mean, he's got to be doing the best he can as much as I've got to be doing the
09:08best I can.
09:09I think the fights should make you wince a bit. It should look like they hurt.
09:17Three, two, one, action.
09:24Got it.
09:27We end up on top of this building site, and we're 200 feet up, I think we are, on a
09:32crane, jumping from crane to crane, with a fight sequence in between.
09:36And, um, it was incredible. I mean, I, you know, I'm not fantastic with heights, I mean, I don't know
09:43many people that are fantastic, but I didn't really have an awful lot of time to think about it, I
09:47just had to kind of get up there.
09:48Being up very high, and being calm, and calming yourself down is, um, quite a, it's quite a kind of
09:54spiritual experience.
10:04If you shoot up to the, um, cranes and there's a little bit of a fight up on the top
10:08crane, which is the first one there, um, that'll lead us into then the two jumps, which we're doing today.
10:15We measure out what the actual jumps are, and then we do it on ground level, so say, like, the
10:19first one's 18 foot, we do that 18 foot on the ground level, getting it right, and knowing exactly what
10:24decel we're using on the equipment.
10:26Then we do the second one, do exactly the same again, but Martin's brief was the bomber's one has to
10:30be in one, so he literally jumps from the top crane to the middle crane, climbs over and jumps from
10:34there to the roof, all in one shot.
10:36The dangers with that is obviously the wind. We were very lucky on the day that the wind was absolutely
10:40perfect for us. We had a limit of 12 mile an hour on the wind, so we couldn't jump if
10:46it was more than that, because basically the cranes would not operate above 12 mile an hour.
10:50Obviously the stunt guys, when they jump off the top crane and land on the middle, the second crane, their
10:55landing area is literally only just over a foot long, or a foot wide.
10:58So when you're sort of up 140 foot looking down, and you're literally looking at a foot by two foot
11:03landing platform, it's not sort of fantastic.
11:28As soon as we get back to England, we're going to start prepping for the aeroplane, or the airport sequence,
11:33along with the actual house, sinking house each other, and we're going to start prepping for the aeroplane sequence, along
11:35with the actual house, sinking house each other.
11:35And also the car turnover, the Aston Martin car turnover.
11:41Once again, Bond's car of choice is the Aston Martin, and as usual, the stunt boys are determined to give
11:48it a thorough road test, this time by rolling it as many times as they can.
11:52We started working on the Aston roll, which must have been about two months ago now. We started off in
11:58BMWs, and using a six inch ramp, just turning into the ramp at about,
12:0565, 70 miles an hour, and rolling the car like that. So we did two rehearsals at that, did one
12:10rehearsal running in Aston Martin, and then realised after doing the test with that, that the car was slightly more
12:17stable and grippy on the road, that the ramp wasn't going to be, or the ramp at that six inches
12:22of height wouldn't quite be the right height for the Aston.
12:26So then on the day that we shot it, we raised the ramp up to about 18 inches, just under
12:31two foot, to try and get that extra bit of lift.
12:34Then went again at similar sort of speeds, 70, 75 miles an hour, hit it. We were hitting it with
12:40just one side of the car, obviously to try and get it to pitch over onto it, to get into
12:44a roll.
12:44As we hit it, it just completely levelled off, and landed it back on all four wheels, and slid down
12:50the road, completely unscathed, pretty much.
13:01The Astings, obviously, they're built completely different. The centre of gravity is lower, they're basically a race car that's allowed
13:07on the road.
13:08When we did the first one on the ramp, it basically went up in the air, corrected itself, and come
13:12back down again.
13:13So we had a backup plan, which was the cannon inside the Aston, and that's what we used.
13:18Special effects guys had put in a cannon which sits just behind the driver's seat, which has a cylinder that
13:23then, as you press a button, releases a load of air, which punches the cylinder into the road, which in
13:30turn turns the car over.
13:37My main concern was literally just get one roll out of it and I'll be happy, sort of thing.
13:40So, let's do any final checks guys, and get ready to shoot.
13:47And, action!
13:55It's a fairly violent sort of ride.
13:58You do get thrown around a fair bit inside, and it's just a case of really holding on, and as
14:03the car's going over, you're anticipating the impacts.
14:06Cut it! Cut it! Let's get the boys in please!
14:09Everybody in!
14:14The car rolled a staggering seven times. The stunt team think they may have a world record.
14:21The car programme on TV went for the world record, and they got five. Now we beat that by two,
14:26so we're sort of checking to see if that's the official world record now, which would be nice if it
14:29is.
14:30I went to go and do as many as I possibly could.
14:38I think I was doing just over 70 miles an hour, about 75. When I hit the button, it just
14:43took off really. Once it started to go and it bit into the grass, there was no stopping it really.
14:48Over and over and over and over again. Great as well, because they did the close-up on Eva. And
14:54he did the car swinging around, and it rolled again, so they have it from every angle. It's fantastic.
15:09The airport scene was the most complicated action sequence to shoot. It spanned three airport locations, Miami, Prague and Dunsford,
15:18and involved a multitude of high-speed exploding vehicles.
15:23The airport's quite interesting. We've got a big tanker and a big tug that normally tow the big 747s about.
15:29They have a huge chase across an airport and basically destroy everything that gets in their path.
15:34I've obviously had experience with tankers before and license to kill, and they are a beast to start working with.
15:41They're quite a few tons hurling around.
15:44Now, obviously, we've got to improve what we did on license to kill, so we're going to strive to do
15:49even more spectacular things.
15:50Prior to shooting, the special effects team spent weeks testing explosions and refining a wide array of mechanical devices to
15:58accommodate the dramatic stunts within the scene.
16:01A plane is coming into land on this runway. Imagine a jumbo over there coming into land, and this tanker
16:08is having a chase with another car.
16:10So as the plane goes over the top, the engines create a thrust, and the car gets blown away. So
16:17what we're hoping is this rig is going to bring the car this way, send the car in the air,
16:22floating across this way, as though it's been blown by the jet engine.
16:25We tried it once, yeah, and it was quite successful, but this is going to be a bigger run, hopefully.
16:30So we're just upping the ante each time.
16:33So hopefully we're not going to break anything, and it's going to fly through the air.
16:47What happened there? The new cable. It wasn't up to it. Back to the old ways.
17:07The stunt is ready to shoot, but there are still a few last-minute details to iron out.
17:12Well, we're trying to protect the runway from being damaged by the car when it flies up.
17:18If you hit this runway, it might gaunt you.
17:20Yeah, it could really damage it, and obviously will cost an awful lot of money.
17:26So they're just trying to figure out how to get it to land over there in the old section.
17:30And action!
17:44Well, we missed the runway.
17:47But they didn't miss the camera, which took a direct hit.
18:05Stop! Stop!
18:15When you do your first bomb movie, what you discover is that, you know, the action sequences, they take a
18:20long time, and they take a lot of work.
18:22And that second unit get on with that, and they have to, because things go wrong, and things don't work.
18:28They have to repeat them, and, you know, you blow up four trucks. You need to repair them again before
18:33you can blow them up again.
18:34Probably the biggest stunt that we have from this scene, where the tanker goes through the bus, which is...
18:41It's a very precise stunt.
18:42You've got a six-ton tanker hitting, like, a ten-ton stationary bus, basically.
18:47So, obviously, that is, you know, a worry. You know, you're trying to eliminate all the dangers.
18:51Obviously, you know, it is a stunt, and things can go wrong.
18:55You have to have them in a movie like this, and they have to be right, and they have to
18:59be accurate, and they have to be worth watching.
19:01And if something happens, the next thing that happens has to better the previous one.
19:07Action, carry!
19:15No one attack!
19:18No one attack!
19:24Exactly!
19:27Transforming!
19:32This beach is defeated.
19:34And it's tough.
19:34Theyajeht toe is so fürs.
19:47A CIDADE NO BRASIL
20:10No matter how much you trust those people, you know, you can't help thinking, my God, it's going to drop
20:15for real.
20:21Pretty exciting stuff, but a very, very difficult set to work in because obviously there's not much space to move.
20:28Water always dictates its own pace in terms of schedule.
20:32Safety is paramount and there are a lot of balustrades up here where there's a big drop down, so we've
20:38got to be careful.
20:39So it's not the easiest set in the world.
20:51The whole set is built on a gimbal and it's huge.
20:54And Chris Corvold, who's the genius special effects guy we've got, has put it on a gimbal, it moves in
21:01any direction and it sinks something like 15 or 20 feet.
21:04I remember when I first started on the film, they said, oh, this is going to be the Bond, which
21:09is dark, gritty, there's going to be no gadgets, gizmos, and then they throw this one at us, which is
21:14the biggest rig we've ever built on any Bond in my career or any other film in my career.
21:19It's been a real, it has been a learning curve, you know, find out all the little ins and outs
21:24of what you can and can't do and iron them out before the shooting crew get there.
21:40The audience, you know, they still like to see somebody taking a risk, however calculate the risk is, you know,
21:45it's like the guy jumping off the dam.
21:49You know, you're a real guy did that and I think that people respect that rather than a big blue
21:56screen with a, you know, shot against blue screen or cheated or digitally put in.
22:01You know, that's a real feat of, you know, bravery, I think, when people are doing that and I think
22:06the audience still like that.
22:30You know, I think, when people are doing that and I think the audience still like that.
22:52You know, I think, when people are doing that and I think the audience still like that.
23:31I think the audience is unborn, too.
23:33We know what really does when people are doing that and they ask me to be scared of you know,
23:33who would I tell someone that could run a dance working at guys?
23:33I think the audience should take a shout you through every single piece of video, but let me know how
23:33so those people 50 years have come to try and know exactly how they were how they can.
23:33Abertura