Behind The Scenes: The Living Daylights (Glen, 1987) With Timothy Dalton And Maryam d'Abo

It is true that I'd always, always felt within me that I wanted to be an actor. The moment I decided to become an actor, I think was at that very crucial moment at school where you've got to decide, now do I go to university to study things I'm not particularly keen on studying but happen to be quite good at, like chemistry and biology, learning to be a geologist or a biochemist or whatever, or do I do what I want to do? I got offered the line in winter with O'Toole and Catherine Hepburn. As a person to work with, she was incredibly kind and caring and generous and giving. It was a small cast, it was a cast of about seven, so it was perhaps easier to be closer, more family-like, but she was absolutely splendid. I'll never forget on my very, very first days filming, we were doing a scene where I, as the young French king, meet O'Toole and his family, and of course they were all on one side and I was facing them, well they covered them first, and just as we turned the camera around to get to me, it was the end of that day, so the first shot the following day was just on me, so she needn't come in because she'd be behind the camera, and she came in especially just to do lines off, and this is this great, great star, who was at that time 60, 61 years old, came in to help a young, inexperienced and very new young actor in films, and I'll never forget that. I think you can probably be as big as you want to be, provided it's honest. I mean, if you were to have a row with somebody, you know, across a table or in a room, you would be huge and the person would only be a yard away from you, but it would be totally believable, and if the camera can catch that, then it carries with it that conviction and honesty. I think the important thing is, I keep coming back to it, honesty and truth. A lot of people perhaps think you've got to be small. No, I think you've got to be honest. If you go small, you can lose energy. I mean, energy is just as vital on screen as it is in the theatre. The goal for me has always been to try and be part of the best work you can, of course, in a pragmatic real world. I mean, it can't always be like that, but at least to aim for the best work you can, and certainly to aim for the best work you can do yourself within whatever piece of work you're doing. Every organisation where there's a lot of people, all with energy and imagination and talent and care, you know, you're always going to get that kind of politics, because everybody cares, everybody has an opinion, and everybody's trying to make sure that what they believe is best happens. But usually, I would think always, in fact, the common denominator is everybody's care to make it a good product. I wouldn't like to say that I've always done the best work. I mean, you don't always have an ideal choice of what you'd like to do. I've been very fortunate in my career that, having done such a wonderful movie very early on, in a kind of a way, I've had a commercial viability in films that at least puts me up there when people are casting films, but it's also been reasonably lucrative. And that has given me the freedom not to do what I absolutely don't want to do. But of course, there's been times where I think, well, you know, Christ, you know, I've spent all that money doing my year or two years in the theatre, I'd better earn some money. And I've chosen to do the best of what's been available. I was asked to go and make Mae West's last film in 1976. I don't think anyone was quite entirely sure what it was about. Most of it was created as we went along. Its intention was as a loving, caring tribute, this great and very special star. And it was full of wonderful people, a bizarre collection of people. Tony Curtis was in it, George Hamilton was in it, Dom DeLuise was in it, Ringo Starr was in it. It was a sort of a carnival, really. You know, I've got a responsibility, at least a responsibility to know about what has gone before. It is difficult to take over in something. Somewhere along the line, you have to try and perceive what it is that has been responsible for the previous film's success. You've got to try and discover that. And you've got to put that in relationship to what it is you're reading in the books. Because the books were the foundation of it all. It's where they all sprang from. However much the movies have developed away from the books, I mean, it's, I think, a proper and potentially very useful thing to do, to understand all the background, whatever, wherever, however. In 1952, Ian Fleming writes Casino Royale, creating one of the most popular characters in fiction, James Bond. When the Bond films are produced beginning in 1962, the character reflects the mood at the time. Looking for shells? No, I'm just looking. Suppose I were to kill you for a thrill. I think it's something more sociable to do. How do you kill five hours in Rio if you don't sample? It was a fantasy, and I guess most of the men sitting in the seats felt, I could be a Bond. Every woman probably looked at this and said, boy, he really has a lot of women in this film, but he hasn't met me. I think everything would change. By the mid-80s, some feel it's time for James Bond to change. People were thinking about becoming more monogamous. There was a whole idea of safe sex. So people commented about, is Bond going to become a one-woman man? This would become the first change for 007 in a film that would redefine James Bond. With Roger Moore's retirement from the role of 007, Michael Wilson and Richard Maybaum embark on a script for the next film without knowing who will eventually play James Bond. One of the ideas that was looked at from time to time was the possibility of exploring Bond's roots, to show where he had come from, to show his background. He's always been a veteran character. He's been a fellow who, his experience, Cubby felt we shouldn't really look backwards. Instead of creating a story which deals with Bond's beginnings, the writers return to the source. The short story is basically the beginning of the film. Whoever she was must have scared the living daylights out of her. Smerchspionum, that's used in the opening sequence, those words meaning death to spies in Russian, come from Smerch, which is the organization that was in the early Fleming books. An assassination organization within Russia to liquidate foreign spies. Wilson and Maybaum make Fleming's female assassin the central character of the new story. As writing begins, the part of James Bond is yet to be cast. We weren't quite sure exactly how to go with the part, so we sort of wrote it fairly middle of the road. We didn't make it as comic as it had been with Roger. We were actively looking for a replacement, which is no easy task, believe me. We have tested people from time to time between films. Basically, you've got to have a guy who's looks handsome, fit, right height, he's got to have humor, and it's gonna be hard. The first test was Sam Neill. So you're Tatiana Romanova? My friends call me Tanya. My friends call me Bond, James Bond. All of us were impressed with Sam Neill and very much wanted to use him. He'd been very successful as Riley Ace of Spies. The key members of the Bond creative team are sold on the New Zealand-born actor except the one whose vote counts most. Like a lot of things in life, it was a close race. An actor who has long been high on the list of candidates is Timothy Dalton, who is first approached for On Her Majesty's Secret Service. Cubby did want him very much. He thought he would be a splendid Bond. I was about 24, 25 then. Had a good career as a young man in films, having done The Lion in Winter, Cromwell, Mary, Queen of Scots, Wuthering Heights. And Mr. Brockley very kindly asked me if I'd be interested. But when he came in for the interview, Timothy himself said, I just think I'm too young for this role. I think Bond should be between about 35 and 40. And as a 25, 26-year-old, you know, it would not have been right. He wasn't ready for it, obviously. Dalton turns the role down in 1968, but Brockley feels he's a good choice and continues to pursue him into the 1970s and 80s. Cubby and I met Timothy Dalton on several occasions. We invited him into the studio in MGM six or seven years ago. He seemed to have a sort of interesting side to him that we thought we might be able to use and explore for a new Bond. But Dalton's commitment to the film Brenda Starr means he will be unavailable when The Living Daylights begins production. There was a desperate search on for a James Bond. These very famous people wanting to play James Bond. What the actors had to do was do a fight scene and also to do a love scene. I obviously didn't do the love scene, I did the fight scene. I'd come in and coordinate fights with the last three shortlisted actors. The young actress agrees to test with one of the candidates. The first time we used Miriam Doppel was in the test with the actors. I did it because Brockley approached me and I said, yeah, I'll do it for a day. Well, now that we've been properly introduced. When she turned out as well as she did, we decided that maybe she could play the leading role. I was thrilled. It was like, wow, I got a part in the movie and it's a Czechoslovakian girl. She's a cellist. So I'm going to be doing all these wonderful things. And my God, I'm in a Bond movie, me. Meanwhile, an actor many think is ideal for the role is coming to the end of his network television contract. Someone that we'd always considered was Pierce Brosnan. Pierce was so keen on becoming Bond. We decided to test Pierce. And I came down here to Pinewood and we did extensive testing for three days. I cut the test together, presented them to Cubby and we sat in the theater and he slowly nodded his head. When I was cast as Cara Milovi in The Living Daylight, at the time Pierce Brosnan was supposed to play the part. When it actually happened that he was going to play Bond, it was wonderful. We were so delighted. The other roles are quickly cast. Dutch actor Jeroen Krabbe is approached for the role of Koskoff. We first saw him in Soldier of Orange, of course, where he was magnificent. I had one wish, which was to be in a James Bond movie ever since I'd seen the first ones when I was 12, 13, 14. When an opportunity presented itself, we offered him a role. For the part of cold-blooded assassin Nekros, the producers hire a dancer-turned-actor. I think what made it happen was really the incredible coincidence that the character I played was described exactly the way I looked. Rounding out the international cast is Joe Don Baker as Brad Whittaker. Whittaker was a nut. He was a very rich man who had his own army. He thought he was Napoleon or somebody. All of a sudden they said, no, it's postponed for two weeks because Pierce was doing Remington Steele and they couldn't get him out of the series. I think it was a 60-day thing for them to come up with any more episodes. I believe on the 56th day they came up with five more episodes. The network that he was working for wouldn't release him. The edict from Krabbe was that Remington Steele would not be James Bond. That was the end of the Krabbe always remembered that Timothy Dalton was someone who in his mind could play Bond. And then they approached him again and then he said yes. The schedule on this Bond film was delayed and it was delayed to the point where I became available and I was asked again and I was very very pleased. Dalton is suddenly a very busy man. He is scheduled to begin the living daylights within days of finishing Brenda Starr. The script is now tailored to Dalton's strengths. First and foremost I wanted to make him human. He's not a superman. You can't identify with a superman. We were very anxious to get back to the more hard-aged Fleming type Bond. Both in the story and the way Bond played the part. He told us he was going to go back and reread the Fleming novels to get sort of grounded in the character and we said that was a good idea. You can always identify with the James Bond of the books. I mean he's very much a man and a tarnished man really. He's not perfect. He felt that Bond was a conflicted fellow and that that you know should appear sort of as a subtext for the character. He agreed that he wanted to play a harder kind of Bond. Timothy wanted seriously to change the image quite a bit in that he you know wasn't necessarily this guy in the tux. He wants to be a tougher character. He was going to be James Bond. No room for laughs and jokes. I wanted to capture that occasional sense of vulnerability and I wanted to capture the spirit of Ian Fleming. We were very happy with that. Filming begins on 12 days before Dalton is scheduled to arrive for makeup and wardrobe tests. Bond film veterans B.J. Worth and Jake Lombard contribute to the pre-credits parachute jump. We filmed on Gibraltar and we did a little skydiving sequence out there. Jumping out of a Hercules was relatively straightforward. It was the landing because it is very inhospitable terrain. The winds were very squirrely all over the rock of Gibraltar. B.J. Worth and his boys had quite a tricky job. They had us landing in places that were extremely hazardous and actually a couple of them they were going to do with a crane and lower somebody down and we figured we could probably do it better ourselves and much much easier and we ended up getting lucky. The three landings of the three 00 agents we did all in one day and just knocked them off boom boom boom. One stunt poses problems for the filmmakers. We were faced with a situation about the stunt with the Land Rover. We decided to go out into the Mojave Desert and take a lightweight Land Rover out there and drop it with somebody on it and see what happened. You can't just start dropping cars out of the sky and hope that they land safely. We were planning to use a parachute so we could do take two with the Land Rover. We attempted it twice and on the second occasion the parachute that they put inside didn't open it. It got wrapped around the Land Rover. So all we got was a Land Rover that looked like it had been dropped. Well it was dropped from 2,000 feet. Instead of being about six foot high I think it was reduced to about four inches. It had just flattened completely when it hit the ground. It was an absolute disaster and they crashed down into the Mojave Desert and there wasn't much of it left. We then reverted to plan B and we fired a Land Rover off of Beachy Head with an air cannon and had a radio-controlled rig inside it to release a parachute to pull a dummy out of the top of the Land Rover and then we blew it up. Almost two weeks after the second unit begins filming on Gibraltar the first unit starts shooting with Andreas Wisniewski and stuntman Bill Weston. Ballet training helps to execute action scenes in so far as you have a certain awareness of your body. I had a big fight with Bill Weston. During the course of these three days it took to film this fight Bill fractured a finger and I knocked him out once. The next day finds the crew on location at Stoner House, Dublin for Blayden Safe House. The first thing I actually did was me being kidnapped from the estate. I liked Timothy on the spot and we had a wonderful wonderful wonderful time together. I'd in fact just come off doing a film called Bend a Star in America which I finished on the Saturday flown to England on the Sunday and started work on the Bond film on the Monday and it was completely jet lagged. He hardly had his his tuxedo on and he had to do this scene. Despite jet lag Dalton throws himself into the role especially when he joins the second unit on Gibraltar. They sent Timothy to me and I had a message from Cubby and from John and from Michael Wilson saying don't damage him. Very good at action Timothy and he was a good mover and he was very keen to do as much of his own stunt work as possible. When I felt that I could do and should do the action that we see in the film I did it. He was up on top of that jeep he was on the side of it he climbed down he did a lot of things himself. I knew that he was strong enough whether he had the courage to to hang on the top of that and it's 1300 feet drop down the side of the mountain. We got him on top of the jeep and I said all we want Tim just some nice big close-ups of you. Oh but I can do it I can I can swing around you know. I said Tim we just want some close-ups of you don't and he was so keen and he was throwing himself around he was throwing himself off the side of the truck and my whole heart was going like this. The producers weren't too happy but they accepted our judgment and he did it safely and he did it spectacularly and he went down the side of that hill hanging on the top of the jeep. Great courage. A few days later in Vienna Dalton faces a bigger challenge being introduced as the new James Bond to the world press. It was a madhouse filled with people from all over the world anxious to meet the new James Bond. When we arrived in Vienna we had a huge press conference which kind of took over me even thinking about it. The press conference in Vienna for me was completely overwhelming. I think Tim sometimes had problems with the amount of exposure in the publicity. Tim is a very shy person. One of the qualities that I might share with a secret agent who works for the British government would be their desire to keep their private life and their thoughts about it private. You think to yourself oh you know I'm same guy as I always was and how can this change my life but suddenly uh everything you do you're recognized and you're underneath that microscope. So many photographers hundreds of photographers so maybe it was a bit overwhelming for him. Media interest the public interest in the character of James Bond was more than Timothy could consider. He knew it would be a circus but I think down deep he didn't believe it would be as bad as it was. For director John Glenn shooting at Prater Park is like returning to his roots. We shot in Vienna which was reminiscent in a way of one of the early films that I ever worked on in the film industry The Third Man. It was the amusement park where Orson Welles and Joseph Cotton made The Third Man and we did film a scene on the ferris wheel where they also filmed so that was very nice. Meanwhile back in the United States BJ Wirth and Jake Lombard have some high altitude action of their own. Sparky Green who's a director producer organized the logistics and BJ Wirth put the team together for the stunt fight. We had to make this 900 pound sack fly. We built this great big fiberglass keel inside and then put bags around it but the air would actually hit the keel and this stabilized it. Of course a 900 pound thing to get in and out of the back of an airplane was a good trick but a couple of winches and pulleys and cables and good rigging worked out well. This cargo net was being buffeted by winds and they were continually being slammed against the fuselage. I got tossed off over Visalia a couple of times. We had safety guys that would chase us but for them to go out and catch you and do you much good in free fall be really lucky if they could help you out. Then I had to do a big swing move get back on the back side of the bag and usually by that time I could not move so I would just hold on and open my mouth and that was our signal to bring in the bag so the winches would then pull in the net and I would just ride there until I got close two people come out and just haul me in. I'd lay there on the tailgate I couldn't move completely spent my energy because of all the wind on the front of the bag. We built a ripcord system in the net and you had to hang on get your feet and hands on both sides of it so the guy in the plane could pull the ripcord and then you just sort of let go and open the net up. The first time we did this we definitely had our adrenaline moving pretty good and we got down in position and we pulled the big cable to release them and it was a wild ride. Boy once you let those bags out of there it got real breezy. All these bags are hitting you like at 120 miles an hour and you have to still hang on. When I kicked off the bad guy and tried to climb back in Bond is just supposed to climb back up the net in a normal fashion and climb over the tailgate. John Glenn wasn't so excited back home because he wanted some more excitement it was kind of a dull sequence with a bag just hanging there. Well it got real undull real fast when the net started going through its wild gyrations I thought I was going to hit my head so I tucked my head down and the third one I was sure I was going to hit it and so I dropped my head to have my backpack hit it. I don't know how close it actually came and I never did touch it but I thought surely it would. I thought it was going to be hit by the tail of the airplane because it started to come up and down and it was very frightening and he got off just in time. It was obvious if I stayed on any longer it was going to happen and that's why I got off when I did. While Worth and Lombard complete the cargo net shots the first unit travels to Morocco. Shooting in Tangier was just wonderful. Morocco is a wonderful country to shoot it has a great international flavor. Morocco in the winter is still quite pleasant. It's a lovely experience of another culture. I love the Moroccan culture it's beautiful I love the food it was wonderful it was like animated chaos and the blazing sun. On October 27th the filmmakers begin shooting at Palais El Mondeb one of the many residences of millionaire Malcolm Forbes. We're looking for grand houses it could be the villain's house and someone said why not the Malcolm Forbes house so we went over there and we looked at it. He very kindly let us gave us access to the house and the grounds overlooking the Mediterranean. It was screaming with money and wealth and luxury. Forbes had a collection of toy soldiers very expensive toy soldiers. I was taken with the idea of the eccentricity of having all these toy soldiers there and we could have a great end sequence made kind of eerie with these soldiers and Joe Don playing these war games and then of course whenever you see something in a glass case in a James Bond film you know that it's not long for this world. Halloween finds the special effects crew up to their usual tricks at the airfield at Ouazazate. The shot of the jeep being ejected and landing was done by John Richardson as a model. The tricky thing was getting it at a predetermined altitude because it had to be something like two feet off the ground which is very low. When you look at that stuff incredible shots. We had a little radio controlled drone parachute connected to a full-size model parachute which was connected to a little model of the jeep and the skid. Never seen them done better anywhere. Then the jeep landing and driving through the wall and driving away was done full size in Morocco. The following week Richardson rigs another high-flying stunt. We had a sequence done in Morocco with where Tim was supposed to be driving or riding a magic carpet. Bond rushes along the rooftops and grabs a carpet at some point and throws them on to a couple of what appear to be electrical telegraph cables going across the rooftops. The scene got a little over long and it was one of the tough decisions one makes in the editing room later on that we could do without it. Throughout November the crew films exciting climactic battle on the airfield at Ouazazate. Ouazazate is sort of just over the Atlas Mountains high desert area before you get into the rolling sand dunes and it was a good match for Afghanistan. There's this studio called Atlas Corporation Studios and when you drive up to it there's a an enormous wall with very large letters above it and that's it. It is one wall on the other side it looks exactly the same as desert. Shooting in the desert was mesmerizing. Getting up at 4 a.m and seeing the most beautiful dawns, finishing at the end of the day with the most beautiful sunset. We were able to use an international airfield to build our set on. We found the cooperation there to be outstanding. A lot of the army turned up with their own weapons. I spent most of my time down in Ouazazate because we had a mass of work going on down there and a lot of miniatures as well. There were three units working. We'd be rigging for the battle and I would rush backwards and forwards on one of the motorbikes from the chase sequence. Richardson also has to create a ravine and bridge for the battle sequence. We needed a bridge that had to look as though it was over a terrifyingly high ravine. There is a modern bridge in Ouazazate that goes over a stream bed. So John Richardson and his men built a what we call a foreground miniature. The bridge was four feet high but looked as though it was a hundred. The background of the ravine were past work and the rest of it all just sort of blended in with the real thing. Suddenly this little wadi with a little bridge 10 feet high was now 300 feet in the air with all the cladding of the timber on it and everything else. The water in the bottom is in fact saran wrap on a painted piece of plywood. The whole thing became an absolute amazing shot and it was one of the finest achievements that I've ever seen of foreground miniatures. I think it's one of those situations where you really can't see the the join and then back in Pinewood Studios we built a quarter scale bridge over a little piece of river and real rocks and then we literally blew that up and collapsed the bridge. Other illusions are achieved in a slightly more low-tech way. When we came to the actual shot of where it mounts the ram of course was impossible to do on the real aeroplane. It was just far too difficult and dangerous. But it's not possible because Hercules are not allowed to taxi with their ramps down. So we've got in the largest furniture van that we could find. We're actually on a truck on the runway and the jeep came up behind us and in it went. Because the sequence requires so much action the producers minimise the risk and bring in Dr James Deorta who happens to be a cousin of Gabby Broccoli's. So we had an emergency surgeon on the set which is basically unheard of. We flew to Wazzazart and the crew had built a 007 mash unit. Jimmy was wonderful. He used to carry out minor operations on site. The guys were coming up and saying hey doc you know I got me a mole here you know. Did we get that off? Everyone on the crew had a lump removed. They were usually fixed in the bar at night you know. After these guys had I think a couple of pints then they started realising oh yeah I do want that thing taken off and there we were doing plastic cosmetic surgery in Wazzazart. Dr Deorta also has more serious work. A horseman had fallen off of the as the horse was going across a bridge and and lacerated his radial artery. He had to do some surgery on him in the middle of nowhere in a tent. My nurse Barbara Broccoli sending their glove as I exposed the area cleaned it. An hour later Barbara came on the set completely pale and white. What's happening to you? Well I had to be the nurse at you know I performed the surgery. I said could you do it? She said no but I had to do it because there wasn't any nurse. I said how did you do it? By closing my eyes she said. The crew returns to Pinewood at the end of November and a few weeks later welcomes some special guests to the set. During the filming the royal couple Princess Di and Prince Charles were going to make a tour of Pinewood and they asked that uh Covey and I escort them around studio. They were being totally entertained because you know a lot of movies like a place for a kid to arrive. Prince Charles assists with the filming. When Prince Charles came down we rigged it up and I actually gave him the switches to fire it. Which he did he pushed the button and sent a missile down to target down For somebody not used to it um and not used to you know having to cope with something like that he did it amazingly well. Princess Diana has some fun of her own. We got some of the breakaway bottles that were made in the plasterer shop. I said to Diana why don't you smash a sugar glass bottle in your husband's hand just for fun. This was front page uh coverage all over the world the next day in every paper every television station and I was in the middle laughing. In January Timothy Dalton and Andreas Wisniewski fight to the death on a recreation of the Hercules cargo hold on Pinewood's B stage. They rebuilt the back of the plane in the studio with this this net hanging out of it build a landscape of plaster Paris and a horizon and enormous fans. We were actually shooting from a crane shooting down onto the miniature mountaintops and the net was taunt across the set and no more than six or eight feet above the mountaintops. So for three days we ended up hanging in this net matching to the aerial shots that they'd already taken. The net bouncing up and down we we accomplished with with wires and counterweights so that we could control it and match the the sort of frequency of the flapping that it was doing. We'd just done an hour of it out of what was going to be three days and Timothy Dalton saying I'm knackered already. The crew travels to their final location in mid-January a frozen lake in Austria for a scene showcasing Bond's new Aston Martin. The idea of bringing back the Aston Martin was you know for traditional Bond fans is is a great positive so we thought well with the new Bond why not. This had to be built to have skis come out the side it had to fire rockets it had all of the standard Bond things that one would expect to find on a on an Aston Martin. The Aston Martin has always been a favorite of ours with Bond's from Goldfinger on. The extreme weather makes things difficult for the effects team. We had to fire up the Aston Martin up a dam and had to go over the top of a hut in the chase. We're very used to firing things with air cannons and you know we've done it on a number of occasions. Well it's like 30 below out there and we fired the car we compressed air because of the extreme cold the valves instead of opening ever so quickly the valves are contracted and it opened ever so slowly. We were rushing around with blow torches and heaters and trying to warm everything up. The car instead of firing off like mad just went and went straight into the hut total disaster. I went over to Cubby and said I'm terribly sorry Cubby so he said don't worry he said we'll come back tomorrow we'll do it again and we went back next day Cubby sat down in the same seat we fired it and flew a dream and looked great and I went up to him I said was that better Cubby he said uh yeah he said that's exactly what I knew would happen. One of the last location shots filmed involves Bond in his most unusual mode of transportation. I actually came up with this idea when I was in America and we were thrashing out the script and Dick Maybaum said oh it's impossible they couldn't fit in a cello case. I have to say that Dick and I had our misgivings and Cubby as well and it just so happened on the music stage at MGM and they were having a session. John got a hold of a cello case and he'd had us come over and he actually sat down in it to show that it could be used and from then on they were all for it. For the scene a special cello case is devised. This cello case doesn't tend to run all that true without some sort of guidance underneath it sort of tended to spin around in circles. The auto cello case in fiberglass with uh skis on the bottom of it um and control handles were built into the sides. Shooting the scenes riding the cello case lasted three days. I think they loved that actually. I did not enjoy that. Had quite a whale whizzing down the slopes I did not enjoy that at all. There was times when it went out of control. I was the one who had to control the cello case as we were going down the slope and there were times where we were hanging on the back to slow it down and on one side was a ravine and on and down at the bottom was the camera crew. One time it went past me and I dived at it because the shot was over and they were still carrying on. Timothy weighed more than I did so it kind of was slightly off balance. If we didn't stop them there was a long way down the piece and it would have become very dangerous. Plus they put firecrackers underneath the snow so it looked like they were shooting at us and I have a phobia of explosions. They both were screaming with delight. I hated doing those scenes. The Living Daylights wraps production in February. The coming attractions promise a more dangerous bond and Dalton delivers. Delighting fans of Ian Fleming's spy sagas. We don't expect him to be copying Roger Moore or Sean Connery. I mean he's an actor and he has his own interpretation. He portrayed all the smoldering qualities that we were trying to introduce into the picture and he was very good in the love scenes. Certainly the action scenes remarkable debut really.