31 replies to this topic

[Nicolas Suszczyk]

Could you translate this for us Marketto or Rafael 00 Agent? Thanks. Seems very intresting.

According to this, When Mr White says "The first thing you have to know about us is we have people everywhere", Bond awnsers...

Spoiler

“Você só tem uma chance. Respire fundo e a aproveite bem.”

Which means (I think):

"You have only one chance. So breath deep and take the advantage"

Attached Files

•  1218812868507QOS_notas_traduzidas.doc   564.5KB   64 downloads

[Vauxhall]

These notes are fantastic. I've had a quick scan and there is lots of really good information about the cast, locations, etc. Is there likely to be an English version floating around?

[DamnCoffee]

We need a translation!

[DamnCoffee]

Here you go guys. I've managed to translate the Production Notes for Quantum of Solace supplied by Nicolas Suszczyk.

PRODUCTION NOTES

29 OF JULY OF 2008

SUMMARY

1. Summary

4. Citations of 007 QUANTUM OF SOLACE

5. Information on the film

8. Synopsis

9. Locations

17. Cast & Team technique

19. Biographies: Daniel Craig

20. Olga Kurylenko

21. Mathieu Amalric

22. Judi Dench

23. Giancarlo Giannini

24. Gemma Arterton

25. Jeffrey Wright

25. Jesper Christensen

26. Anatole Taubman

26. Rory Kinnear

27. Joaquin Cosio

27. Fernando Guillén-Cuervo

28. Jesus Ochoa

29. Oona Chaplin

30. Marc Forster

31. Michael G. Wilson

32. Barbara Broccoli

33. Neal Purvis & Robert Wade

34. Paul Haggis

35. Anthony Waye

36. Callum McDougall

36. Andrew Noakes

37. Dennis Gassner

38. Robert Schaefer

38. Matt Chessit is

39. Richard Pearson

39. Louise Frogley

40. Dan Bradley

40. Chris Corbould

41. Gary Powell

41. Debbie McWilliams

42. Kevin Tod Haug

43. David Arnold

45. Substances: Daniel Craig: “I never doubted that we would make an excellent film”

48. Olga Kurylenko: “It is motivated by the revenge”

50. Mathieu Amalric: “She will be one fight of two animals”

53. Judi Dench: “We go to count an extraordinary history”

54. Gemma Arterton: “Its life finishes to move stops always”

57. Anatole Taubman: “We form a pair of the opposites”

59. Marc Forster: “At some moment of the life, all we already were traídos”

63. Michael G. Wilson & Barbara Broccoli: “We do not believe that rules exist”

65. Dennis Gassner: “We raise it to a new platform”

68. Louise Frogley: “With an actor as Daniel, you it can use any thing”

72. Dan Bradley: “Whenever somebody grasps the arm of the armchair of the cinema or if inclines for one of the sides, I feels victorious person”

75. Chris Corbould: “Explosions and fire”

78. Gary Powell: “Nós sabemos que ele consegue, ele é mais do que capaz”

83. 007 QUANTUM OF SOLACE - CURIOSIDADES






“The first thing that you need to know is that we have people in all the places.”

Mr. White

“You only have a possibility. It breathes deep and it uses to advantage it well.”

James Bond

“I find that you are so blind for this inconsolável hatred that does not import who you hurts. When it is not known plus who is friend or enemy, it is hour to leave.”

`M'

007 QUANTUM OF SOLACE

007 QUANTUM OF SOLACE, 22ª adventure of James Bond in the surmounting of bigger success of the history of the cinema, started to be filmed in day 7 of January of 2008. The longone is a production of the EON Productions, produced for Michael G. Wilson and Barbara Broccoli, directed for Marc covered with star Forster and for Daniel Craig in the paper of the private agent lendário, James Bond. With script of Neal Purvis & Robert Wade and the winner of Oscar®, Paul Haggis, the film retakes the tram only one hour after the end of 007 Royale Casino (Casino Royale) e is the first direct continuation of a film produced for the EON.

The interrogation of Mr. White (JESPER CHRISTENSEN), carried through for agent 007 (DANIEL CRAIG) and for M (JUDI DENCH), test that nobody is worthy reliable in the new adventure of action of James Bond, 007 QUANTUM OF SOLACE.

Moved for the treason of Vesper, the woman who it loved, the determination of Bond to track the head for backwards of the left-hand side organization of White takes it to Haiti, where it finds an improbable allied, Camille (OLGA KURYLENKO), a beautiful, however dangerous stranger.

The track quickly leads it the Dominic Greene (MATHIEU AMALRIC), but with the British government and the CIA working against it, necessary Bond to kill or to die in this mission to discover the truth and to destroy the “Quantum”.

The production of 007 QUANTUM OF SOLACE it filmed in more international locations of what any one of the other films throughout the 46 years of the surmounting James Bond. The team technique started the filmings in the Pinewood Studios, the United kingdom, before travelling to the City of Panama and Colón, in Panama, to the desert of Atacama, in Chile, Sienna, Carrara, Lago Garda and Fonteblanda, in Italy, and Bregenz, in Austria, with an additional unit filming aerial sequences in San Philip, Mexico.

The British actor Daniel Craig reprisa the paper of James Bond after its success of critical and ticket office with its performance of estréia in the paper of the favourite private agent of the whole world, in 007 Royale Casino (Casino Royale). The ucraniana actress Olga Kurylenko contrascene with Craig in the paper of Camille. Mathieu Amalric interprets the Dominic accident Greene, having as right arm `Elvis', interpreted for Anatole Taubman, and Gemma Arterton is the spy of the MI6, agent Fields. The enemy of Camille, the general despot Medrano, is interpreted by Joaquin Cosio. The Mexican actor Jesus Ochoa is Orso lieutenant, reliable man of Medrano, and Fernando Guillén Cuervo is the corrupt colonel of the bolivian policy.

Judi Dench reprisa the paper of `M', the head of the British private service, and Jeffrey Wright is of return in the paper of Felix Leiter, the North American agent of the CIA ally of Bond. Jesper Christensen also is in return as mysterious Mr. White and Giancarlo Giannini interpret Mathis, the Italian contact of the MI6 whose loyalty is questioned by Bond in 007 Royale Casino (Casino Royale).

007 QUANTUM OF SOLACE, a presentation of the EON Productions, Albert R. Broccoli, was produced by Michael G. Wilson and Barbara Broccoli, directed for Marc Forster from the script of Neal Purvis & Robert Wade and Paul Haggis. James Bond is based on the personage created by Ian Fleming, of the Meter Goldwyn Mayer Pictures and Columbia Pictures, through Sony Pictures Releasing.



ON EON PRODUCTIONS

The EON Productions/Danjaq, LLC, of property of the Broccoli family, already produced twenty and two films of the series James Bond since 1962, including 007 QUANTUM OF SOLACE. The longones of James Bond, produced for Michael G. Wilson and Barbara Broccoli, constitute the surmounting most lasting of the history of the cinema and include blockbusters recent 007 Against GoldenEye (GoldenEye), 007 - Tomorrow Never It dies (Tomorrow Never Dies), 007 - The World is not Sufficiently (The World is Not Enough), 007 - A New Day To die (Die Another Day) e 007 Casino Royale (Casino Royale). A EON Productions e a Danjaq, LLC são companhias afiliadas que controlam todo o mechandising global da franquia James Bond.




ON COLUMBIA PICTURES

[[A]] Columbia Pictures, part of Columbia TriStar Motion Picture Group, is a company of Sony Pictures Entertainment. Sony Pictures Entertainment (SPE) is a division of Sony Corporation of America (SCA), subsidiary of Sony a Corporation, based on Tokyo. The global operations of the SPE they include the production and the distribution of cinema films and productions of television; the creation and the distribution of digital content; investments in international canals; the acquisition and the distribution of homevideo; the operation of production studios; the development of new technologies, products and services of entertainment; e the distribution of productions of entertainment in 67 countries. Sony Pictures Entertainment can be found in the Internet in the address: http://www.sonypictures.com.

ON THE METRO-GOLDWYN-MAYER INCORPORATION.
Meter-Goldwyn-Mayer Incorporation. she is independent a producing and deliverering private company of films and artistic productions for cinema, video and television. The company is proprietor of the biggest catalogue of modern films of the world, including approximately 4,000 headings and more than 10,400 episodes of television programs. Its cinematographic quantity was awardee with a total of 208 Oscars®, one of the biggest collections awardees of the world, with innumerable popular surmountings as James Bond, The Rose Panther e Rocky. MGM it belongs to an investing trust formed by Sony Corporation of America, Providence Equity Partners, Texas Pacific Group, Comcast Corporation and DLJ Merchant Banking Partners. For more information, it visits www.mgm.com.

SYNOPSIS/PLOT - VETOED THE PUBLICATION

007 QUANTUM OF SOLACE of the continuity to the explosive adventures of James Bond (DANIEL CRAIG) in 007 CASINO ROYALE (CASINO ROYALE).

Traído for Vesper, the woman who it loved, 007 fight against the impulse to transform its last mission into a personal question. Led for its determination to discover the truth, Bond and `M' (JUDI DENCH) they interrogate Mr. White (JESPER CHRISTENSEN), that it discloses that the organization that chantageou Vesper is well more complex and dangerous of what all had imagined.

The inquiry of the intelligence service binds a treasonous one of the MI6 to a banking account in Haiti, where a case of changed identities presents Bond to the beautiful, however dangerous, Camille (OLGA KURYLENKO), a woman pledged in its proper revenge. Camille takes Bond directly the Dominic Greene (MATHIEU AMALRIC), an impious and powerful entrepreneur inside of the mysterious organization.

In a mission that takes it to Austria, Italy and to the South America, Bond discovers that Greene, conspiring to assume the control of one of the most important natural resources of the world, is gives to close business with exiled the general Medrano (JOAQUIN COSIO). Using its associates in the organization and manipulating its powerful contacts in the CIA and the British government, Greene promises in exchange for to knock down the current regimen of Bolivia, giving to the general the control of the country a pparently barren land piece.

In a mined field of treasons, murders and frauds, Bond if unite the old friends in the fight to unmask the truth. How much more close it arrives to discover the responsible man for the treason of Vesper, more 007 needs to remain a step to the front of the CIA, the terrorists and even though of `M', to unmask the left-hand side plan of Greene and it withhold `Quantum'.

LOCATIONS

THE UNITED KINGDOM:

The production base if installed in the description Studio Pinewood, in Buckinghamshire, the outskirts of London. Pinewood already became synonymous of the films of James Bond throughout the years - all they, excepting two, 007 Permission To kill (Licence you the Kill) e 007 Against GoldenEye (GoldenEye), they had been filmed there. The production used the world-wide famous Studio more than 007 and five other studios of filming for the construction of the interiors of 14 sets different throughout the six months of filming. `Back Lot' also it was used for the construction of the façade of the Perla De Las Dunes, the hotel chosen for general Medrano for the exchange of the money with Greene and colonel of the bolivian policy. The interior of the hotel was constructed in Studio 007, where 50 explosive loads for the filming of the violent confrontation between Bond and Greene had been planted more than.

Quarter of Bruneval, the Quartéis de Montgomery, in Aldershot if it passed for the city of Moscow covered of snow, where Bond goes behind Yusef, the Algerian whom Vesper traiu, and the delivery to the MI6. The quarter was reopened by the marshal Montgomery in 1965, however they retrace to the year of 1850. The quarter of Bruneval was the first base of permanent training of the British army and Aldershot quickly became the biggest center of the British army, baptism with epíteto of `the House of the British Army'.

Airport TAG Farnborough foi a locação usada para o misterioso encontro entre a CIA e Dominic Greene no aeroporto de Bregenz, Áustria. Inside of the building of the terminal, the credit card of Bond is refused when M disqualifies it and it includes it in the list of those to be “captured or died” for the MI6.

Bodyflight, the first vertical tunnel of wind for training of for-quedismo of the United kingdom, in Bedford, and the greater of the world, was used for the department of visual effect to film James Bond and Camille during its diving in free fall of airplane DC3 in Bolivia. The center was constructed by the ministry of the British Defense to search the control of aircraft and later testing ejectors of seats before it was demilitarized and disactivated, in 1997. The director of the Bodyflight, Paul Mayer, perceived the potential of the place after knowing the vertical tunnel of wind during its vacations and passed three years searching the tunnel and angariando deep before opening the center in 2005. The tunnel has 4.95m of diameter and almost 8 meters of height and simulates the experience that if has to if jumping in the 274 free fall km/h without she is necessary to jump of an airplane!

Daniel Craig and Olga Kurylenko if had submitted to some weeks of training in the Bodyflight with Gary Powell and its team of dublês before the filming in an only day in the place.

The Virgin Atlantic Airlines came back if to associate the Bond, after its first participation in 007 Royale Casino (Csassino Royale). Together Mathis if the Bond in lounge bar of the Executive Classroom and asks for its celebrity Martini Vesper. In the truth, the pretense one lounge it was constructed in `The Base', of the Virgin.

Inaugurated in 2007 for the proprietor of the aerial company, the Sir entrepreneur Richard Branson, The Base are new and moderníssimo center of training of the Virgin Atlantic, where its crew of cabin practises techniques of flight security, services to the consumer and edge services. One is about the most advanced center of this type of training in the Europe, constructed to a cost of £ 13 million sterling pounds, and with capacity enough to accomodate a crew of cabin of 4.500 people of one alone time.

The Reform Club, in Pall Mall, London, it was the used location as the building of the government where the minister of the Foreign affairs reprehends `M' for the fancy behavior of Bond and he instructs it to dismiss Bond of the mission to track Mr. Greene.

The club will be forever on The Return to the World in 80 Days (Around the World in Eighty Days), of Júlio Verne, as the place where the idea of its incredible day was conceived and where the appositive celebrity was made.

Established in 1836 and projected for Charles Barry, the filiation to the Reform Club was restricted to that they supported the Reform Act of 1832. Currently, the Reform Club is not on to no political party in particular and today he is used exclusively for social functions.



PANAMA:

The locations in City of Panama if they had made to pass for the streets and constructions of Bolivia.

The team technique started the filmings in Panama in Airport Howard. The airport is located in the outskirts of the City of Panama and was a base of the Air Force of U.S.A. up to 1999. The location was customizada by the art department to serve as an airport of Bolivia where the agent Fields waits to receive James Bond and Mathis in its bolivian landing in ground in the pursuit from Dominic Greene.

Beyond filming in the streets of the City of Panama, the production selected two building extraordinary as locations for the film. The first one was set of fictitious the Great Andean Hotel, the hotel chosen for Bond when arriving at Bolivia. For this, the art department submitted building of INAC (INSTITUTO NACIONAL OF CULTURA) of Hoof Viejo to one total transformation. Headquarters of the National Institute of Culture, the building of the INAC received new awnings, brilliant pisos and all were repainted, internally and external. In the film, it is the fictitious hotel where James Bond if houses with the agent Fields, who comes to falecer in the Suíte Moon-of-Honey.

The two minutes the foot of the building of the INAC is The Old Union Club, an imponent ruin of what long ago it are more celebrates particular club of Panama. It had rumors of that it if had become the QG of general Noriega, it defames it dictator of Panama, and was bombed in the North American invasion of 1989. The production team took months to all clean the rubbish and the garbage of the place before the art department arrived to construct an illuminated bar, to hang long curtains color of peach in the arcs of the building and to install an elegant white illumination. The team filmed during four nights the scene of the beneficient party of Dominic Greene. Bond and the agent Fields if infiltrates in the party, where they find Camille already in confrontation with Greene.

The production if transferred stops Colón to continue the filming of the scenes passed in Bolivia.

A massive renewal was implemented by the team of production of 007 QUANTUM OF SOLACE in the locations selected in Colón and its outskirts. In order to film in certain more declining residential areas, as Fenix building where Felix Leiter passes the Bond information on the agreement of Greene with Medrano, the production carried through ample reforms in the electrical systems and hydraulical to give to the place the necessary security to the filming team.

Some areas of Colón had also been used in the scenes passed in Haiti. One more time, an enormous project of renewal was implemented when Alone coconut the location of the road in Haiti was chosen as where James Bond dirige while it binds for `M' to ask for that Greene is investigated. Com sua fileira de palmeiras, Coco Solo foi outrora uma prestigiosa e belíssima base dos militares norte-americanos. Some integrant of the local team technique that costumavam to visit friends who lived there remember the residences painted in tones crayons with its proper particular beaches. When U.S.A. had invaded the country in 1989, the houses had been abandoned and Alone Coconut quickly was grown worse.

Most of long ago the beautiful architecture of Colón is in frank decay and Arboix building it is not no exception. This magnificent construction in tone crayon of orange in the center of Colón was chosen by the department of locations to transfer itself for the Dessalines Hotel, of Haiti. In the film, the first one stopped of James Bond in its mission is and has a sequence of fight in one of the rooms in the high one of the building that finishes if extending until varanda.

One third unit of action if joined to the main unit in Colón to film the sequence of the persecution of motor boat, round in its bigger part in píeres 3 and 6, even so the final outcome of the sequence has been filmed in Island goat, the paradisiacal island where Bond disembarks with Camille in its arms. It has 100 years, the island was uninhabited and used for the neighboring Great Island as a cemetary. Today, Island Goat is full a particular island of 2,5 hectares of palms, ploughs, wild harts and butterflies. The Panamanians say who the lead coffin of Sir Francis Drake lies in the deep o reef of chorales that surrounds the island, situated in a famous contraband route.



MEXICO:

An aerial sequence was filmed in barren mountains of Low California, in Mexico. A team technique of 66 people, commanded for the director of 2ª Unit, Dan Bradley, filmed during 17 days in a small airport next to the city to San Philip. airport is operated by the local military who keep one strong presence in the region in order to hinder the action of narcotics traffickers. In the sequence, Bond pilots one old airplane DC3 (our model was manufactured in 1939) and is attacked by an armed acrobatic Marchetti with machine guns and by a helicopter Huey. By ambient questions and of security, no pyrothecnic effect can be filmed in the place, therefore all the shots and smoke had been added later as visual effect. In air, the aircraft had had the company of a Aerostar equipped with cameras in the tail and a Astar helicopter equipped with a Spacecam. Two teams of terrestrial cameras had covered the action, located in mountains. The locations were so remote that the team technique and the equipment had of being carried until there daily from helicopter.



CHILE:

The north of Chile provided the ample barren and decamped landscapes imagined by the director Marc Forster to transfer itself for desert-like Bolivia. Of the hotel where it was housed in the Chilean city of Antofagasta, the team technique travelled up to two hours all the mornings to arrive at the filming locations.

ESO Paranal (of European organization for Astronomical Research in the South Hemisphere) used for the external ones it was passed in the Perla De Las Dunes, in Bolivia. Situated to an altitude of 1.800 meters, the astroroof was constructed in the top of a mountain in the border of the south extremity of the desert of Atacama and provides to the astronomers a free isolated environment of dust sources and illumination - the perfect atmosphere for the study of the stars.

In general busy for a never superior number the 20 astronomers, astroroof ESO opened its doors for a team more than technique of 300 people for the filming of the scene where Bond and Camille run for the roof of the building pursuing its adversaries.

Other remote locations in Chile had been used for the barren village that Bond and Camille crosses the foot later that they discover the secret of Greene, the desert railroad station where Bond and Camille if separate and the vast desert where Bond decides to abandon Greene.



ITALY:

Surrounded for a blue sea turquoise, Torre di Talamonaccio, in the Toscana, she was used as palacete of Mathis. The particular residence is a rock construction that retraces to year 1,000 d.C. e originally was constructed as a ortaleza to protect the center of the country. James Bond arrives at palacete in great style, on board a classic Sunseeker motor boat and convinces Mathis to join it it in its mission in Bolivia.

Anxiously waited sequence of opening of the film it was filmed by the second unit throughout eight weeks in three different locations in Italy. Lago Garda, in the north of Italy, it marked the jettison of the automobile persecution between the Aston Martin and the Alpha Romeo. The team technique if transferred of Lago Garda stops Carrara to continue the filming of the persecution in way to a marble quarry of 2.000 years. Innumerable historical workmanships had been grooving in marble of Carrara: the old Romans had constructed to the Column of Trajano and the Panteão, and Michelangelo sculptured its `David' from this brilliant white rock-marble.

The filming of the automobile persecution was concluded in the historical center of Siena, where images of reference of the world-wide famous one “I float of Siena” had been filmed by a unit of support one year before. The second unit filmed the persecution of Bond the foot through the Piazza Il Field and on the irregular roofs of the city. The persecution finishes in a gallery of art constructed in the Studio 007 them Pinewood Studios, in the United kingdom.

AUSTRIA:

The scene of the Lyric Theater, where Bond discovers Greene in a private meeting with some of the figurões most powerful of the world, was twirled throughout two weeks of nocturnal filmings in Bregenz House Festival, of Austria. James Bond was filmed on the famous scene constructed for the assembly of 2007/8 of Coarse. The current cast staged the opera on palco floating, surrounded for Lago Constance. More than 1,000 figurantes in suits black tie e gala dresses had occupied part of gigantic anfiteatro whose maximum capacity is of 7.000 people.

CAST

JAMES BOND Daniel Craig

CAMILLE Olga Kurylenko

DOMINIC GREENE Mathieu Amalric

M Judi Dench

MATHIS Giancarlo Giannini

AGENT FIELDS Gemma Arterton

FELIX LEITER Jeffrey Wright

GREGG BEAM David Harbour

Mr. WHITE Jesper Christensen

ELVIS Anatole Taubman

TANNER Rory Kinnear

MINISTER OF THE FOREIGN AFFAIRS Tim Pigott-Smith

GENERAL MEDRANO Joaquin Cosio

COLONEL OF THE POLICY Fernando Guillén-Cuervo

LIEUTENANT ORSO Jesus Ochoa

MITCHELL Glenn Foster

GUY HAINES Paul Ritter

YUSEF Simon Kassianides

CORRINE Stana Katic

GEMMA Lucrezia Lante Della Rovere

Mr. SLATE Neil Jackson

RECEPCIONISTA OF THE HOTEL Oona Chaplin

TEAM TECHNIQUE

MARC FORSTER Director

MICHAEL G. WILSON Producer

BARBARA BROCCOLI Producer

ANTHONY WAYE Executive producer

CALLUM McDOUGALL Executive producer

NEAL PURVIS & ROBERT WADE Script

PAUL HAGGIS Script

DENNIS GASSNER Tracer of Production

ROBERT SCHAEFER ASC Photograph director

MATT CHESSÉ, A.C.E. Mounter

RICHARD PEARSON, A.C.E. Mounter

DAVID ARNOLD Track

LOUISE FROGLEY Figurinista

DAN BRADLEY Director of 2ª Unit

CHRIS CORBOULD Supervisor of Special Effect

SIMON CRANE Additional director of Unit

GARY POWELL Coordinator of Scenes of Action

DEBBIE McWILLIAMS Cast

KEVIN TOD HAUG Designer of Visual Effect

MICHAEL SOLINGER Supervisor of After-Production

CHRIS MUNRO Mixagem de Som

GREGG WILSON Assistant of Production

ANDREW NOAKES Associate of Production

EDDY JOSEPH Edition supervisor of Sound

DANIEL CRAIG - JAMES BOND

Consecrated as one of the best actors of theater, cinema and television of its generation, Daniel Craig James Bond of the M16 is 007 agent, the British private service. Craig reprisa the paper after estréia its aclamadíssima in 007 Royale Casino (Casino Royale), the film of bigger invoicing of the history of surmounting 007.

Craig was born in Chester and grew in Liverpool. It was changed London when entering for the National Youth Theatre, to the 17 years, giving continuation to its academic formation in the Guildhall School of Music and Drama, of London, for which if it formed in 1991.

It made its cinematographic estréia in 1992, the South African drama of pugilismo, The Power of a Young (The Power of One), but it called the attention the critical one and the directors of seriado popular cast in the dramatical one of the 1996 TV, Our Friends in the North, in the paper of Geordie Peacock.

In 1998, interpreted George Dyer, the diligent boyfriend of Francis Bacon in the powerful cinebiografia of John Maybury, Love is the Devil. In 2000, he was recognized with the European prize Shooting Stars. After that, it estrelou films as to blockbuster of Hollywood, Lara Croft: Tomb Raider, in which it interpreted the boyfriend of Lara Croft, the comedy of black mood with a great cast, Hotel Splendide, e The Trench, writing and directed by the consecrated writer, William Boyd.

In 2002, Craig estrelou the film of Sam Mendes, Road for Perdição (Road you the Perdition), and he was elogiadíssimo for the critical one in the paper of Connor Rooney, disturbed the son of the gangster John Rooney, interpreted for Paul Newman. In the following year, it estrelou To recommence (The Mother), a strong drama directed by Roger Michell, in which it interpreted a youngster who has a case with a woman of 60 years. After that, in the paper of Ted Hughes, Paltrow co-estrelou with Gwyneth in Sylvia - Passion Beyond the Words (Sylvia), on the life of the poets Ted Hughes and Sylvia Plath.

In 2004, estrelou Love Forever (Enduring Love), directed for Roger Michell and adapted of the romance of Ian McEwan, e Nor Everything Is What It seems (Layer Cake), the successful diretorial estréia of Matthew Vaughn on the world contemporary of the drug trafficking.

It acted in to thriller of John Maybury, Shirt of Force (The Jacket), contracenando with Adrien Brody and Keira Knightley, it was seen in the televising adaptation of bestseller of Robert Harris, Archangel, e also estrelou the film of Steven Spielberg indicated to the Oscar®, Munique (Munich). Em 2006, interpretou Perry Smith em Infamous, contracenando with Toby Jones as Truman Cloak (author of bestseller, To the Cold Blood), based in the murders committed for Smith and Dick Hickock.

After its estréia as James Bond in 007 Royale Casino (Casino Royale), Daniel Craig contracenou with Nicole Kidman in the winner of Oscar® The Gold Compassing (The Golden Compass), one has filmed in the first romance of the trilogy of Philip Pullman , followed established of Consequences of the Innocence (Flashbacks of the Fool), writing and directed by Baillie Walsh, and, more recently, Defiance, directed for Edward Zwick.

Actor consecrated teatral, its teatrais credits include papers of protagonist in Hurlyburly, with the company of Peter Hall in the assembly of Old Vic, e Angels in America, in the National Theatre. In 2002, Actor was indicated to a prize London Standard Evening Award de Melhor with The Number, in which it interpreted three papers and it contracenou with Michael Gambon.

OLGA KURYLENKO - CAMILLE

Olga Kurylenko contrascene with Daniel Craig in 007 QUANTUM OF SOLACE as Camille, a definitive woman to avenge the murder of its family.

Kurylenko initiated its career in France, making its estréia in the paper of the protagonist Iris, of L' Annulaire, of Diane Bertrand. After that, Wood contracenou with Elijah in Paris, I Love You (Paris Je T' aime), one has filmed independent in which a famous group of cineastas of diverse nationalities counted its histories on Paris. In 2006, it interpreted Sofia in to thriller acclaimed of Eric Barbier, The Mark of the Serpent (Le Serpent), co-covered with star for great French astros as Yvan Attal, Clovis Cornillac and Pierre Richard.

While it was perfected as actress, also it knew the success in the worlds of the fashion and the beauty - working in Paris, Milan, New York and London. To the 18, it already had been portraied in layers of magazines as Vogue e Elle.

Kurylenko interpreted its first paper in English language in the year passed in the cinematographic adaptation of graphic novel, Hitman - Murderous 47 (Hitman). Directed for Xavier Gens and produced for Luc Besson, Kurylenko had an impressive performance in the paper of Nika Boronina, contracenando with Timothy Olyphant, Dougray Scott and Ulrich Thomsen.

In the end of this year, Kurylenko could be seen in the paper of Harud Mine in Tyranny, of John Beck Hofmann. In 2009, it will be seen contracenando with Mark Wahlberg in Max Payne, of John Moore, and the drama of French production will estrelará, Kirot.

MATHIEU AMALRIC - DOMINIC GREENE

Mathieu Amalric, one of the astros greaters of France, more is known by the international cinéfilos for its performances in Munique (Munich) of Spielberg and, more recently, The Diving-dress and the Butterfly (The Diving Bell and The Butterfly), that it at the beginning gave French Cesar to it of Better Actor of this year. It also won Cesar de Melhor Actor with its paper in the comedy of international success Kings and Queen (Kings and Queen), directed for Arnaud Desplechin, and Cesar de More promising Ator with its performance in My Sex Life of Desplechin.

Amalric initiated its career of actor in 1984, acting in Les Favoris woollen Lune, of Otar Losseliani, and it worked after that as assistant of direction of Louis Malle in Good bye Boys (Au Revoir Les Enfants). As actor, it worked after this with great cineastas as Andres Téchiné, Olivier Assayas, Jean-Claude Biette and with the Larrieu brothers. Its more recent films include Un Conte de Noël, of Desplechin, Un Secret, of Claude Miller, Heart Beat Detector, of Nicolas Klotz, Actresses (Actrices), of Valeria Bruni Tedeschi, e Fragments Sur Le Grace, of Vincent Dieutre. It also acted in Maria Antonieta (Marie Antoinette) of Sofia Coppola.

Amalric wrote and directed some films, including Wimbledon Stage, and, more recently, the set of documents in shortness-metragem, Let Them Grow Up Here.

JUDI DENCH - M

Since that it interpreted Ofélia in Hamlet in the assembly of Old Vic it has 50 years, Judi in such a way devoted in a career marked for skillful performances in classic papers how much contemporaries. It already more than collects 25 prizes - including 9 BAFTAS, the British Oscar - in a career that encloses the theater, the cinema and the television. It it was awarded with the Order of the British Empire in 1970 for its services given to the Theater and, subsequently, one became Lady of the British Empire, in 1988. Recently, it was awarded with the CH heading (Companion of Honour).

Dench reprisa the paper of `M', the head of James Bond and the MI6, already having acted in others five films of agent 007: 007 Against GoldenEye (GoldenEye), 007 - Tomorrow Never It dies (Tomorrow Never Dies), 007 - The World is not Sufficiently (The World is Not Enough), 007 - The World is not Sufficiently (Die Another Day) e, more recently, 007 Royale Casino (Casino Royale).

Its too much worthy cinematographic credits of prominence include: Tea with Mussolini (Tea With Mussolini) of Franco Zeffirelli, Sua Majesty - Mrs. Brown (Mrs Brown), that indications to the Gold Globe, prize BAFTA and Oscar were valid it®), Shades of the Past (Wetherby), a Window For the Love (the Room With the View, that a prize BAFTA of Better Coadjuvante Actress was valid it), I never saw You, Always I loved You (84 Charing Cross Road), a Handful of After (the Handful of Dust, another performance awardee with the BAFTA of Better Coadjuvante Actress) and two films of Kenneth Branagh, Enrique V (Henry V) e Hamlet.

Dench won Oscar®, a BAFTA and was indicated to the prize of Better Coadjuvante Actress of the National Society of Film Critics with its performance in the romantic comedy of great success, Shakespeare Apaixonado (Shakespeare in Love). It was indicated to the Globe of Gold and Oscar® of Better Coadjuvante Actress with Chocolate (Chocolat), of Lasse Hallstrom.

It also won a BAFTA with its performance in The Last Show of the Blond Explosive (The Last Of The Blonde Bombshells) for the Working Title Television. In 2001, it filmed Iris (that it gave an indication to it Oscar®), directed for Richard Eyre, co-covered with star for Jim Broadbent, e Arrivals and Departures (The Shipping News), directed for Lasse Hallstrom, with Kevin Spacey and Julianne Moore.

Its teatrais credits include the assembly of David Hare, Amy' s View (that it gave a Tony to it for its performance in the Broadway), The Royal Family, of Peter Hall, e The Breath of Life, of David Hare, the Theatre Royal Haymarket, contracenando with Dame Maggie Smith, All' s Well That Ends Well, of the Royal Shakespeare Company, in Stratford and, later, the West End, Hay Fever, of the Theatre Royal Haymarket. More recently, it estrelou Merry Wives of Windsor, of the RSC, in Stratford.

Its more recent cinematographic credits include The Battle of Riddick (The Chronicles of Riddick), of David Twohy, Ladies in Lavender, of Charles Dance, Mrs. Henderson Apresenta (Mrs Henderson Presents), of Stephen Frears, with Bob Hoskins, e Notes On a Scandal (You notice on the Scandal) with Cate Blanchett, directed for Richard Eyre, who gave to the Judi indications to Oscar® of Better Actress of 2007, to the Gold Globe, prize SAG and the BAFTA, having looser the British Independent Film Award de Melhor Actress of 2007. More recently, it acted in the televising seriado one acclaimed by the critical one, Cranford, in the paper of the Srta. Matty Jenkins.

GIANCARLO GIANNINI - MATHIS

Since a sua estréia no cinema, em 1965, em Fango Sulla Metropoli, Giancarlo Giannini already estrelou 100 international productions more than, working with consecrated directors as Visconti (The Innocent), Fassbinder (Lili Marlene), Lina Wertmüller (Love e Anarchy, Mimi, the Metallurgist, For a Destination Uncommon, Pasqualino Seven Beauties), Francis Ford Coppola (Stories of New York), Ridley Scott (Hannibal) and Tony Scott (Flames of the Revenge).

In 1977, were indicated to the Oscar® with Pasqualino Seven Beauties (Pasqualino Settebellezze). Its other prizes include five Davids (the Italian Oscar) with You Voglio Bene Eugenio, of 2002, Celluloide, of 1996, It eats Due Coccodrilli, of 1994, Mi It orders Picone, of 1984, Mimi, the Metallurgist (Mimì Metallurgico Ferito Nell' onore), of 1972; four prizes Silver Ribbon of the Italian National Association of Critics of Cinema with Hannibal, of 2001, There Scene, of 1998, and with Mimi, the Metallurgist (Mimì Metallurgico Ferito Nell' onore), of 1972, the prize of Better Actor of the Festival of Cinema of Cannes of 1973 with Love e Anarchy (Film of amore and anarchia) e Better Actor of the Festival of Cinema of San Sebastián, of 1973, with Sono Stato Io! Its talent also was recognized with the Los Angeles Italian Film Awards de Excelência in the Cinema, in 1999, and for the Festival of Cinema of Milan with the prize Lifetime Achievement Award, in 2002.

After its estréia in the last launching of Bond, 007 Royale Casino (Casino Royale), Giannini comes working regularly in the cinema and the television. After that, it will be seen in telonas in Estrendo Suenos, directed for Salvatore Samperi, and in Liola, directed for Gabriele Lavia.

GEMMA ARTERTON - AGENT FIELDS

Star in ascension, Gemma Arterton made its cinematographic estréia in ST. Trinian ' s, dirigido por Oliver Parker e Barnaby Thompson. Arterton interprets Kelly in this modern version of the seriado one St Trinian' s original. The film is co-covered with star for Rupert Everett, Russell Brand and Colin Firth.

Before if joining the cast of 007 QUANTUM OF SOLACE, Arterton had finished to film 3 And Out, directed for Jonathon Girshfield. Arterton lives the paper of Frankie in this comedy, contracenando with Imelda Staunton and Mackenzie Crook. Also in the passed year, it it filmed to thriller policeman Rocknrolla, directed for Guy Ritchie, co-covered with star for Gerard Butler, Thandie Newton and Mark Strong.

In the television, it was seen at the end of the year passed in Capturing Mary (BBC), of Stephen Poliakoff. Recently, also it concluded the filmings of Lost In Austin for the ITV, directed for Dan Zeff, in which he interprets the personage of Elizabeth Bennett, contracenando with Jemima Rooper, Alex Kingston and Tom Riley.

In the theater, it acted in the last year as Rosaline in Love' s Labour' s Lost, the assembly directed for Dominic Dromgoole in Shakespeare' s Globe Theatre.

Currently, Gemma Arterton is filming minissérie of BBC TV, Tess of the Of Urbervilles, in the paper of the protagonist Tess Durbeyfield, and it started the filmings of the new epic adventure of Jerry Bruckheimer, Prince of Persia: The Sands of Teams, directed for Mike Newell.

JEFFREY WRIGHT - FELIX LEITER

The actor awardee, Jeffrey Wright, reprisa the paper of the agent of the CIA ally of Bond, Felix Leiter, after to have acted in the last film of James Bond, 007 Royale Casino (Casino Royale).

The impressive filmografia of Jeffrey Wright includes films as Under the Domain of the Evil (The Manchurian Candidate), of Jonathan Demme, Broken flowers (Broken Flowers), of Jim Jarmusch, Syriana - the Industry of the Oil (Syriana), directed for Stephen Gaghan, The Invaders (The Invasion), directed for Oliver Hirschbiegel, Raid by horseback With the Devil (Ride With the Devil), of Ang Lee, Basquiat - Traces of a Life (BAsquiat) e, more recently, Blackout, also produced for it.

Its list of awardings includes the prize of Actor of the Year of the American Film Institute, in the paper of Martin Luther King in the cinebiografia of HBO, Boycott, e an indication to the prizes Tony and Obie in the success of critical, Top Dog, Underdog. In 1994, won a Tony with its performance in the teatral version of Angels in America, e nine years later, in 2003, it won a Emmy and a Globe of Gold with a coadjuvante paper in minissérie homônima of HBO.

After to film 007 QUANTUM OF SOLACE, Jeffrey Wright acted in Cadillac Records, of Sony Pictures Entertainment, interpreting the paper of the lendário bluesman, Muddy Waters.

JESPER CHRISTENSEN - MR. WHITE

One of the actors most famous of Scandinavia, Jesper Christensen already won four prizes Bodil, more recently, with its work in Drabet, of 2005, directed for Per Fly, beyond four prizes Robert, including one with Baenken, also directed for Fly, in 2000.

In its international career, co-estrelou the film of Sydney Pollack, The Interpreter (The Interpreter), with Nicole Kidman and Sean Penn, and seriado the televising American, Revelations, with Natascha McElhone and Bill Pullman.

Since that it interpreted Mr. White in 007 Royale Casino (Casino Royale), in 2006, Christensen concluded two longones: <a href="http://www.imdb.com/title/tt0920458/">Flammen & Citronen, writing and directed by Ole Christian Madsen, e The Young Victoria, directed for Jean-Marc Vallée, and covered with star for Rupert Friend and Miranda Richardson.

ANATOLE TAUBMAN - ELVIS

Natural of Switzerland, Anatole Taubman is son of German father and Austrian mother of Russian, Polish and Slovakian ancestry. Poliglota, studied Scenic Arts in New York in the prestigious school of theater `Circle In The Square', what off-Broadway took it to estrelar two parts in English language (The Rehearsal e It' s Only the Play).

After to conclude the course of Theater, Taubman enjoyed of a short, however successful career as photographic model before if moving for Germany, in 1997, where it obtained its first paper of protagonist in acclaimed telefilme, Doppelter Einsatz-Evas Tod.

Since then, it accumulated a respectable list of international credits, including Mein Name is Bach (with which he was indicated to the Swiss-Filmprize, the Swiss Oscar, of Better Coadjuvante Actor), to thriller of Swiss mystery Marmorera, Luther, the recent films of Hal Hartleys, Fay Grim e Band Of Brothers, as Otto Herzfeld. Taubman also carried out televising productions of the Joined Kingdom, including P.O.W. Foyles War, Spooks e Waking the Dead. In followed, it will be seen in the longones Taken, covered with star for Liam Neeson, e Secret Défense, of Philippe Haim. In the television, it will be seen in briefing in anxiously waited second season of the seriado one The Tudors, in the paper of feared carrasco French, Jean Rambaud.

Recently, Taubman received the Prix Walo (the most traditional prize of Swiss entertainment) from Better Actor of the Switzerland of 2007.

RORY KINNEAR - TANNER

Rory Kinnear studied English in the University of Oxford before studying Scenic Arts in the London Academy of Music and Dramatic Art (LAMDA), where if it formed in 2001. Son of the actor Roy Kinnear and godson of the deceased husband of Judi Dench, Michael Williams, Kinnear worked regularly in the National Theatre of London in recent years and is one of the favourite actors of the artistic director, Nick Hytner. Its more recent teatrais credits include performances praised for the critical one as the paper of Simon, in Southwark Fair, of Sir Fopling Flutter, in the comedy The Man Of Mode, e de Pyotr, em Philistines.

Beyond these teatrais credits, Kinnear works regularly in the television. Recently, it was seen in the drama of the BBC1, Five Days, interpreting a kidnapper of children, and in the televising version of Mansfield Park, of Jane Austen, in the paper of Rushworth. Also it has little, estrelou in the paper of Dennis Thatcher the drama of BBC TV, Margaret Thatcher: The Long Walk You the Finchley.

007 QUANTUM OF SOLACE it marks the estréia of Rory Kinnear in the cinema.

JOAQUIN COSIO - GENERAL MEDRANO

Joaquin Cosio at the beginning started its teatral career of the decade of 80 e, currently, is member of the National Theatre Company in its native country, Mexico. Cosio worked with the most famous Mexican directors, as David Olguin, Antonio Castro and Luis De Tavira and, recently, concluded its participation in the part Los Baños, written for Paul Walker and directed for Enrique Singer.

Its cinematographic career had beginning in 2000, with the film It joins of Of, directed for Marcel Sisniega. In 2005, it was indicated to the Ariel (the biggest prize conferred for the Mexican Cinematographic Academy) with the film Killing Handles, directed for Alejandro Lozano. It also acted in Acional security N, the Brazilian film of Robert Carminatti.

After that, Cosio will be seen in El Viaje of Teo, of Walter Dohener, who explores the migration of the Mexicans for U.S.A., e Rudo Y Cursi, in which contrascene with Gael Garci'a and Diego Luna.

007 QUANTUM OF SOLACE it will be its first film in English language.

FERNANDO GUILLÉN-CUERVO - POLICY COLONEL

Fernando Guillén Cuervo was born in Barcelona (Catalúnia). Its parents are the famous actors Fernando Guillén and Gemma Cuervo, and its sister is the actress Cayetana Guillén Cuervo. Guillén Cuervo made its estréia in the cinema in 1982, with a paper in Pestañas Postizas, covered with star for Antonio Banderas. Since then, already he worked more with some of the directors respected of Spain, including Peter Almodóvar, Jose Luis Garci, woollen Eloy Iglesia, Bigas Luna and Vicente Aranda. Fluente in English and Frenchman, beyond its native Castilian, its cinematographic credits include great successes of critical as the headings The Law of the Desire (There Ley del Deseo), the Ages of Lulu (Wools Edades de Lulu), Mouth the Mouth, Light of Domingo, and the comedy Airbag, that a success became cult between the young cinéfilos. Also it interpreted small papers in some foreign films as 1492: The Conquest of the Paradise (1492), of Ridley Scott, e The Business Affair, of Charlotte Brandstorm.

Fernando Guillén Cuervo also devoted itself as scriptwriter and cineasta. It co-wrote already mentioned Airbag e Los Novios Bulgarians, directed for the controversial director cult, Woollen Eloy Iglesia. Cuervo also directed two of its proper films: Año Mariano e Los Managers, two comedies of great success.

JESUS OCHOA - LIEUTENANT ORSO

Natural of Mexico, Jesus Ochoa grew in Ures, one cidadezinha in Sonorous. Começou sua vida profissional como professor, mas em 1979, decidiu ir para a Cidade do México e estudar para ser ator no Instituto Arte Escénico. Since its formation, it constructed a success career as actor of theater, cinema and television.

Ochoa already acted in more than 30 films in Mexico and the international cinema, working with respected directors as Tony Scott, in Flames of the Revenge (Man on Fire), Luis Mandoki, in Innocent voices (Innocent Voices), and Christopher Zalla, in Nuestro priest, winner of the prize of Better Film of the Festival of Cinema of Sundance and of the prize of Better Actor of the Festival of Cinema of the Turkey of 2007. More recently, it concluded the filmings of South of the Border, of the Disney, contracenando with Piper Perabo, and presenting the voices of Salma Hayek, Drew Barrymore and Placido Domingo.

In its native country, Ochoa received the sanctioned Silver Ariel Award (the Mexican equivalent from Oscar®) with its performance in the part Between Pancho Villa y it joins to mujer naked (that later it was adapted for the cinema) and with The low California: The Limit of the Time (Bajo California), of Carlos Bolado.

Between its teatrais credits you add, are distinguished the parts Between Pancho Villa y it joins to mujer naked, directed for Sabina Berman; Wools collected workses of William Shakespeare (condensed), directed for Antonio Castro, e Light of luna y Tiempo of fiesta, written for Harold Pinter and directed for Ludwik Margules.

Beyond consecrated actor, Ochoa directed and produced some shortnesss-metragens for the Olímpicos Games and the World-wide Pantry of Soccer and, currently, plans to direct its first opera in its native city of Sonorous.

OONA CHAPLIN - RECEPCIONISTA OF THE HOTEL

Star in ascension, Oona Chaplin was born in Madrid and covered the world with its family when she was child. Its Chilean father, a photograph director, is involved in the politics of Chile and of Cuba and its paternal grandmother was the leader of the movement of feminine release of Chile. The mother of Oona is the actress Geraldine Chaplin (son of Charlie Chaplin), with who it already contracenou two times professionally: first, in the Italian film Mortis Imago, e later, in Art in Wools Vegas, of Mary McGluckian. Since its formation in the year passed for the famous school of London theater, RADA, Chaplin has worked regularly in the cinema, the television and the theater. Its talent, however, is not restricted to the performance. Chaplin is gotten passionate by the dance flamenca, which if dedicates has 18 years more than. It also is poliglota and fluente in Castilian, Frenchman, English and Italian.

MARC FORSTER - DIRECTOR

The director indicated to prizes BAFTA and Globe of Gold, Marc Forster, made its diretorial estréia in 2000, with the film of psychological terror Shouts in the Night (Everything Put Together), also co-written for it. The film estreou in the Festival of Cinema of Sundance of 2000 e, after that, Forster directed a series of blockbusters praised for the critical one including, more recently, The Hunter of Pipes (The Kite Runner), based in bestseller homonym of Khaled Hosseini.

Although he is natural of Germany, Forster was created in Switzerland, where she attended a course the celebrity Institut Montana Zugerberg. However, its bigger ambition was to make films and, in 1990, it changed itself for U.S.A. to study Cinema in the New York University. Forster commented: “When you it is created as I was e, suddenly, it decides that it wants to make films, all say that it is impossible, but are I and are living my dream here.”

Today, the impressive filmografia of Forster includes The Last Supper (Monster' s Ball), of 2001, that it received two indications to Oscar® e gave estatueta of Better Actress the Halle Berry, e In Search of the Land of Never (Finding Neverland), of 2004, one has filmed established in the half-autobiográfica history of the friendship between J.M. Barrie e sua vizinha, uma mãe solteira com quatro filhos. In Search of the Land of Never, covered with star for Johnny Depp and Kate Winslet, it received seven indications to Oscar®, five indications to the Gold Globe and 11 indications to the BAFTA, all including the prizes of Better Film. Forster also was indicated to the prize of Better Director for its colleagues of the Directors Guild of America.

In 2005, Forster directed to thriller The Ticket (Stay), covered with star for Ewan McGregor and Naomi Watts, and, in the following year, the comedy of great success More strange Than the Fiction (Stranger Than Fiction), with Will Ferrell, Maggie Gyllenhaal, Dustin Hoffman, Emma Thompson and Queen Latifah.

MICHAEL G. WILSON - PRODUCING

When James Bond after returned to telonas an absence from six years, Michael G. Wilson produced to blockbuster, 007 - Against GoldenEye (GoldenEye) with Barbara Broccoli, followed of other great successes of the spy of Its Majesty, 007 Tomorrow Never It dies (Tomorrow Never Dies), 007 the World is not Sufficiently (The World is Not Enough), 007 - A New Day To die (Die Another Day) e 007 Royale Casino (Royale Casino). Together, them they are the producers of 22ª adventure of Bond, 007 QUANTUM OF SOLACE, covered with star for Daniel Craig, Olga Kurylenko and Mathieu Amalric.

Wilson entered for the EON Productions, in 1972, as assistant of the legal department, being promoted the assistant of production in 007 - The Spy Who Loved Me (The Spy Who Loved Me). Estreou as producing executive in 007 - Against the Rocket of the Death (Moonraker), mantendo-se na função nos dois filmes seguintes de Bond. It demonstrated to all its creativity as co-scriptwriter of 007- Only For Its Eyes (It will be Your Eyes Only), 007 Against Octopussy (Octopussy), 007 - In the Aiming of the Assassins (the View you the a Kill), 007 - Marked For the Death (The Living Daylights) e 007 - Permission To kill (License you the Kill). It was co-producer, with its stepfather, the deceased Albert R. Broccoli, of 007 - In the Aiming of the Death ( The View You the A Kill), 007 - Marked For the Death (The Living Daylights) e 007 - License To kill (Licence you the Kill). Currently, she is director-executive of EON Productions Ltd.

Formed in Electric Engineering, Wilson studied after that Right in the University of Stanford, worked for the American government and if he became partner of a firm of prestige of Washington, D.C., specialized in International law.

Michael has interest for all the aspects related to the photograph and is a recognized specıalıst in photograph of century 19. It is member of the Advisory Committee of the National Museum of Photograph, Cinema and Television (a division of the NMSI) e, in 1998, established Wilson Centers for studies and research of the history and the aesthetic one of the photograph.

In 2003, Wilson, Dana Broccoli, Michael and Barbara had produced the assembly teatral awardee of Chitty Chitty Bang Bang, received with compliments in the estréias from London and New York.

It was awarded with the OBE (Order of the British Empire) in the list of Honor of the Year of 2008 of Its Majesty, the Queen.

BARBARA BROCCOLI - PRODUCER

Formed in Communication for the University of Loyola, Los Angeles, with specialization in Cinema and Television, Barbara Broccoli works in the production departments and cast of the EON Productions has years. Together with its brother, Michael G. Wilson, it is producing of 22ª adventure of series 007, 007 QUANTUM OF SOLACE, covered with star for Daniel Craig and Olga Kurylenko.

Having initiated its career as assistant of direction in 007 Against Octopussy (Octopussy) e 007 - In the Aiming of the Assassins (the View you the a Kill), Broccoli was galgando position until if becoming producer associated of 007 - Marked For the Death (The Living Daylights) e 007 - Permission To kill (License you the Kill). After that, it and Michael had produced 007 - Against GoldenEye (GoldenEye), 007 Tomorrow Never It dies (Tomorrow Never Dies), 007 the World is not Sufficiently (The World is Not Enough), 007 - A New Day To die (Die Another Day) e 007 Royale Casino (Casino Royale).

Through of its proper independent producer, the Astoria Productions, Broccoli produced Crime of the Century for the HBO, covered with star for Stephen Rea and Isabella Rossellini, and directed for Mark Rydell, from the script of William Nicholson based on the book of Ludovic Kennedy. Telefilme, on the abduction of the Lindbergh baby, was indicated four Gold Globes - Better Film, Better Actor, Better Actress, Better Coadjuvante Actor - in the category Telefilme or Minissérie.

Broccoli is president of the First Light, an initiative of the British Advice of Cinema, directed the young cineastas.

In 2003, Dana Broccoli, Wilson and Barbara had produced the version teatral awardee of Chitty Chitty Bang Bang, elogiadíssima for the critical one in its estréia in London and, later, New York.

Barbarian was awarded with the OBE (Order of the British Empire) of Its Majesty, the Queen in the list of Honor of the Year of 2008.

NEAL PURVIS & ROBERT WADE - SCRIPTWRITERS

The scriptwriters Neal Purvis and Robert Wade emplacaram its first success in 1991, with the script of to thriller do cinema britânico, The Secret of a Sentence (Let Him Have It), the controversial verídica history of the murder of a policeman. Praised for the critical one, the film directed for Peter Medak was shown in the court and influenced in the posthumous pardon of Derek Bentley.

Since then, Neal and Robert had signed in partnership scripts of the most varied sorts, including The Wasp Factory, the adaptation of the romance of Iain Banks, directed for Stephen Daldry, The Plunderers (Plunkett & Macleane), covered with star for Robert Carlyle and Liv Tyler.

Beyond to have signed scripts of two films of James Bond, 007 - The World is not Sufficiently (The World Is Not Enough) e 007 - A New Day To die (Die Another Day), of 2002, they had written An Exit of Master (The Italian Job), covered with star for Mark Wahlberg and Edward Norton, e Johnny English, covered with star for Rowan Atkinson and John Malkovich. After that, they had written and they co-produced In the Line of the Death (Return you the Sender), directed for Bille August, exerting the same functions in Stoned - the Private History of the Rolling Stones (Stoned), directed for Stephen Woolley, before they write the script of 007 Royale Casino (Casino Royale).

After to deliver the script of 007 QUANTUM OF SOLACE, they had written Barbarella for the director Robert Rodriguez, to be produced in 2009 for Dino DeLaurentiis, and they adaptaram the romance most recent of John Le Carré, The Mission Song, for the producers Simon Channing-Williams and Gail Egan. Its more recent contribution is with the director John Carney, in the adaptation of a history of M.R terror. James, Casting the Runes. Currently, they are producing The Little Red Car, a comedy passed in Paris with script of its proper authorship, directed for Hattie Dalton.

PAUL HAGGIS - SCRIPT

Paul Haggis is one cineasta awardee who, in 2006, if became the first one person in the history of the Academy of Arts and Sciences of Hollywood to write two long-metragens consecutive awardees with Oscars® of Better Film: Gold girl (Million Dollar Baby), in 2004, directed for Clint Eastwood, e Crash - In the Limit (Crash), of 2005, directed for the proper Haggis. With Crash, it won Oscars® of Better Film and Better Original Script. The film also received four indications adds, including one for the direction of Haggis. Crash it was successful innumerable other international prizes, including the BAFTA, the Independent Spirit and the prize of the Association of Cinematographic Actors, Screen Actors Guild.

In 2006, Haggis collaborated with scripts for two productions of Clint Eastwood: The Conquest of the Honor (Flags of Our Fathers) e Letters of Iwo Jima (Letters From Iwo Jima). This last it third indication to Oscar was valid its® of Better Script. 007 QUANTUM OF SOLACE it is the second partnership of Haggis with Neal Purvis and Robert Wade in a film of Bond, after the success of critical of 007 Royale Casino (Casino Royale).

After its diretorial estréia with Crash, it directed In the Valley of the Shades (In the Valley of Elah), also written and produced for it, for the Warner Independent Pictures. The film, covered with star for Tommy Lee Jones, Charlize Theron and Susan Sarandon, is a suspense drama on a father in search of its disappeared son, who is declared absent without dismissal after to return from Iraq.

More recently, Haggis and its partner Michael Nozik had established the 61 Hwy Films, based on the United Artists. Its first project is an adaptation of the praised Australian romance, The Ranger' s Apprentice.

Haggis was born in London, a city of the Canadian province of Ontário, and if it moved for California with twenty and few years. For more than two decades, it wrote, it directed and it produced programs televising as thirtysomething e The Tracey Ullman Show, and also it accumulated credits as editor in several sitcoms of Norman Lear. Ele criou o aclamado seriado da CBS, EZ Streets, described for New York Times as one of the programs of bigger importance of all the times, standing out that, without it, “it would not have The Sopranos (Sopranos)”.

Haggis also dedicates with equal tenacity the personal and social causes. It is co-founder of the Artists will be Peace and Justice, is active member of the direction of EMA (The Environmental Media Association), as well as of the group of defense Office Of The Americas, among others.

ANTHONY WAYE - EXECUTIVE PRODUCER

Anthony Waye is one of the leaders of the British cinematographic industry has 40 years more than. It initiated its career as messenger in the production of They sink the Bismark (Sink The Bismark), of 1960, and it passed the 20 following years working as assistant of great directors in epic films including S*P*Y*S, of Irvin Kershner, War in the Stars (Star Wars), of George Lucas, The Man Elephant (The Elephant Man), of David Lynch, Julia, of Fred Zinneman, Dogs of War (Dogs of War), of John Irvin, e Fury of Titãs (Clash of the Titans), of Desmond Davis.

Its envolvement with the surmounting James Bond started in 1981, when it integrated the team technique of 007 - Only For Its Eyes (It will be Your Eyes Only) as first assistant of direction. Quickly, it became part of the famous “family James Bond” with who came back to work in 007 Against Octopussy (Octopussy), 007 - In the Aiming of the Assassins (the View you the a Kill), 007 - Marked For the Death (The Living Daylights), 007 - Permission To kill (License you the Kill), 007 - Against GoldenEye (GoldenEye), 007 - Tomorrow Never It dies (Tomorrow Never Dies) e 007 - The World is not Sufficiently (The World is Not Enough). Throughout the years, its performance was passing of first assistant of direction the supervisor of production, associated producer e, finally, the production manager. In 007 - Um Novo Dia Para Morrer (Die Another Day), one became producing executive, function that reprisou in 007 Royale Casino (Casino Royale) e 007 QUANTUM OF SOLACE.

CALLUM McDOUGALL - PRODUCING EXECUTIVE

007 QUANTUM OF SOLACE it is the seventh film of the series James Bond with the participation of the executive producer Callum McDougall. It started its association with surmounting 007 as assistant of direction of 007 - Marked For the Death (The Living Daylights, 1987) e after 007 - Permission To kill (License you the Kill, 1989). She was manager of unit of production of 007 Against GoldenEye (GoldenEye, 1995), and supervisor of production of 007 - Tomorrow Never Tomorrow Never Dies Dies (, 1997), becoming co-producer of 007 - A New Day To die (Die Another Day, 2002) executive producing e of 007 Casino Royale (Casino Royale, 2006).

Callum McDougall entered for the cinematographic industry in 1978, as assistant of production of films as Vitor or Vitória (Victor/Victoria) e of the televising seriado one, Hammer House of Horror. As 2º direction assistant, worked more than in 20 films, including Air America, The Witches e The Muppet Christmas Carol, as well as in seriado televising of George the Lucas consecrated internationally, The Young Indiana Jones Chronicles, in which the manager of production of more two was promoted seriados. Its credits you add as production manager includes Ferocity Principle (Fierce Creatures) e 101 Dalmatians (101 Dalmatians).

It co-produced after that The Beach (The Beach), it produced the comedy British, One Agent in Apuros (The Parole Officer) e, in 2004, was producing executive of Harry Potter and the Prisoner of Azkaban (Harry Potter and the Prisoner of Azkaban).

ANDREW NOAKES - ASSOCIATED PRODUCER

Andrew Noakes initiated its career in the cinematographic industry working during the vacations of summer with the father, who was controlling financier of Superman. It started serving tea and was being successively promoted until arriving at the archivist of 007 Against Octopussy (Octopussy), of 1982. Since then, already it worked in 26 films, including all the long ones of James Bond since Octopussy.

In 007 - Tomorrow Never Tomorrow Never Dies Dies (, 1997), it assumed the rank of the father, who trabalhara em todos os filmes da série 007 desde 1981. Em 2006, em reconhecimento por seu envolvimento cada vez maior na franquia James Bond, Noakes foi creditado como produtor associado de 007 Royale Casino (Casino Royale), function that it reprisa in 007 QUANTUM OF SOLACE.

DENNIS GASSNER - PRODUCTION TRACER

The career of the awardee production tracer, Dennis Gassner, in the cinema encloses 25 years more than. In its modest beginning of career as assistant of production of Apocalypse Now, Gassner had the luck to work with Francis Ford Coppola, what it took it to work later with the Zoetrope Studios and, finally, to its estréia as tracer of production in aclamadíssimo film of Coppola, The Savage of the Motorcycle (Rumble Fish).

Today, the creative talent of Gassner comes in such a way being recognized for the Academy of Cinematographic Arts of Hollywood® how much for the British Association of Arts and Cinematographic and Televising Sciences. In 1991, it won Oscar® of Better Drawing of Production with Bugsy, covered with star by Warren Beatty and Annette Bening, and year with its work in the film of the Coen brothers was nominated in that one exactly, Barton Fink - Deliriums of Hollywood (Barton Fink). It also won prize BAFTA with Road for the Perdição (Road you the Perdition, 2002), of Sam Mendes, e The Show of Truman (The Truman Show. 1998), of Peter Weir, and were indicated to the BAFTA with the drawing of production of Fish Great e Its Wonderful Histories (Big Fish, 2003), of Tim Burton.

Before entering for the team of 007 QUANTUM OF SOLACE, Gassner had concluded its work in to thriller fantastic, The Gold Compassing (The Golden Compass), that it gave another indication to it Oscar®.

ROBERT SCHAEFER ASC - MANAGING OF PHOTOGRAPH

Natural of New York, Robert Schaefer attended a course the College of Arts of Washington University, where if he formed in Conceptual Art and Installations, with specialization in Photograph, before starting to work in the cinema production and, finally, as managing of photograph.

Schaefer filmed all long-metragens of the director the Marc Forster, as More strange Than the Fiction (Stranger Than Fiction), the Ticket (Stay), In Search of the Land of Never (Finding Neverland), the Last Supper (Monster' s Ball), Shouts in the Night (Everything Put Together) e, more recently, The Hunter of Pipes (The Kite Runner), based in bestseller homonym of Khaled Hosseini.


Concerning its professional relation with Forster, Schaefer comments: “I feel part of a creative force when I am working with Marc.”

The too much credits of the photograph director include the estréia diretorial of Tom Anton, At Last, It will be Your Consideration, Better in Show e Waiting will be Guffman, of Christopher Guest, Whiskey Down (also known as Just Your Luck), of Gary Auerbach, and the long-metragens Italians: Flies in the Head, co-directed for Maria It would give to Menozzi and Gabriella Morandi, e End of the Night, directed for Davide Ferranrio.

MATT CHESSÉ A.C.E. - MOUNTER

The partnership of the mounter Matt Chessé with the director Marc Forster retraces to the success of the Festival of Sundance, Shouts in the Night (Everything Put Together), launched in 2000. Today, Chessé is considered one of the greaters cineastas of Hollywood, indicated to Oscar® of Better Assembly with In Search of the Land of Never (Finding Neverland), having mounted the winner of Oscar® The Last Supper (Monster' s Ball, years before. Seus outros créditos de maior destaque como montador são Ellie Parker, the Ticket (Stay), More strange Than the Fiction (Stranger Than Fiction) e, more recently, The Hunter of Pipes (The Kite Runner).

RICHARD PEARSON A.C.E. - MOUNTER

Richard Pearson mounted recently Agent 86 (Get Smart), of Peter Segal, e Sliding for the Glory (Blades of Glory), directed for Josh covered with star Gordon and for Will Ferrell. With its work in United flight 93 (United 93), writing and directed by Paul Greengrass, was indicated Oscar® of Better Assembly, having looser the BAFTA of Better Assembly and been also indicated to the prize Eddie of the American Editors Cinema.

Previously, it mounted the cinematographic adaptation of the musical revolutionary of the Broadway, Rent; the black comedy of humo, The Little Trip you the Heaven, e was co-mounter with Christopher Rouse of the international success, The Supremacy Bourne (The Bourne Supremacy). It also mounted the action adventure, Welcome To the Forest (The Rundown), covered with star for Dwayne Johnson and Sean William Scott, and, with Steven Weisberg, it mounted the continuation of success MIB 2 - Men in Black (Men in Black II). Its cinematographic credits still include Final Cartada (The Score), Who Did not kill Mona? (Drowning Mona), the Pickaxes (Bowfinger) e Muppets of the Space (Muppets From Space).

Pearson was indicated to the prizes Emmy and Eddie with its work in minissérie of 1998, Of the Land To the Moon (From the Earth you the Moon). Also it created design of the heading of the acclaimed seriado one.

LOUISE FROGLEY - FIGURINISTA

Louise Frogley initiated its career in the cinema in 1983, as assistant of figurinista of the winning film of Oscar®, Fire covered carts (Chariots of Fire). Currently, she is one of the requested figurinistas more of the industry, with an impressive filmografia that includes The Smile of Mona Lisa (Mona Lisa), of Neil Jordan, Luck in the Love (Bull Duhram), of Ron Shelton, Stigmata, of Rupert Wainwright, Syriana - the Industry of the Oil (Syriana), of Stephen Gaghan, Game of Spies (Spy Game), of Tony Scott, e Good Night and Good Luck (Good Night and Good Luck) e The Love Does not have Rules (Leatherheads), of George Clooney.

Frogley also works regularly with the managing awardee with Oscar®, Steven Soderbergh, having signed the figurinos of Traffic, the Secret of Berlin (The Good German), Thirteen Men and a New Secret (Ocean' s Thirteen) e, more recently, Guerrilla.

DAN BRADLEY - DIRECTOR OF 2ª UNIT

Since the beginning of its career in the cinematographic industry as dublê it has 30 years more than, Dan Bradley assumed bigger responsibilities each time and if she more became one of the respected and requested directors of second unit of its generation. After to have its great possibility in Independence Day (1996), Bradley today has more than 140 cinematographic credits in its resume, having looser the prize World Stunt Managing Awards de Melhor of 2ª Unit of 2005 with its work in A Supremacia Bourne (The Bourne Supremacy).

The citation is attributed to the Bradley , “I do not believe that no idea for an action scene exists that is impossible” and its devotion is evident in the screens. Its work in Seabiscuit - Soul of Hero (Seabiscuit) costuma to be praised as the race of horses most filmed of the history of the cinema. Its impressive list of cinematographic credits as managing of 2ª Unit includes Three Kings (Three Kings), the Supremacy Bourne (The Bourne Supremacy), the Ultimatum Bourne (The Bourne Ultimatum), Man-Spider 2 e 3 (Spider-man 2 e 3), Superman Returns e Indiana Jones and the Kingdom of the Caveira de Cristal (Indiana Jones and the Kingdom of the Crystal Skull), of Steven Spielberg.

CHRIS CORBOULD - SUPERVISOR OF SPECIAL EFFECT

Chris Corbould he was supervisor of long-metragens special effect of five previous ones of Bond, having worked in the department of special effect in a total of 12 adventures of agent 007.

Its career in the Bond surmounting started in 1977, as technician of effect special of 007 - The Spy Who Loved Me (The Spy Who Loved Me). After 007 - Against the Rocket Of the Death (Moonraker, of 1979, the technician was promoted senior of 007 - Only For Its Eyes (It will be Your Eyes Only) e 007 - In the Aiming of the Assassins ( The View you the a Kill), later supervisor of production of 007 - Marked For the Death (The Living Daylights), and supervisor of 2ª Unit of 007 - Permission To kill (Licence you the Kill). In 1995, when Brosnan assumed the role of Bond in 007 - Against GoldenEye (GoldenEye), Chris received its first credit as supervisor from a film of 007, having been responsible for the effect special of all the films of Bond since then. Corbould and its team had been indicated to the BAFTA with its work in 007 Royale Casino (Casino Royale), that the succeeded film in the history of surmounting 007 became most .

Its cinematographic credits you add as supervisor of special effect includes The Múmia (The Mummy), 102 Dalmatians (102 Dalmatians), Lara Croft: Tomb Raider, Tomb Raider - the Origin of the Life (Tomb Raider: The Cradle of Life), e more recently, Batman Begins e The Dark Night, of Christopher Nolan.

GARY POWELL - COORDINATOR OF ACTION SCENES

The coordinator of action scenes Gary Powell returns to the films of James Bond after its work awardee in 007 Royale Casino (Casino Royale). The team of action scenes entered for Guinness, the Book of the Records, when beating the record of `Bigger Number of Capotagens of an Car', won the prize World Stunt Award of `Better Scene of Aerial Action' and Powell also won a World Stunt Better Coordinating Award of `of Scenes of Action'. Previously, Powell works as dublê of 007 Contra GoldenEye (Goldeneye), 007 - Tomorrow Never It dies (Tomorrow Never Dies) e 007 - The World is not Sufficiently (the The World is Not Enough).

Powell was born in a dublês family and carried through its first scene of action to the 11 years in one of the films Carry on. Promoted successively until arriving the coordinator of action scenes, its too much credits include Titanic, Braveheart, The Rescue of the Soldier Ryan (Saving Private Ryan), The Exterminador of Future 3 (Terminator 3), Alexander (Alexander), The Legend of the Zorro (The Legendo of Zorro), the Ultimatum Bourne (Bourne Ultimatum) e, more recently, Indiana Jones and the Kingdom of the Caveira de Cristal (Indiana Jones and the Kingdom of the Crystal Skull), of Spielberg.

DEBBIE McWILLIAMS - MANAGING OF CAST

Debbie McWilliams already scaled the cast of nine long-metragens previous ones of the Bond surmounting: 007 Only For Its Eyes (It will be Your Eyes Only), 007 Against Octopussy (Octopussy), 007 - In the Aiming of the Assassins (the View you the a Kill), 007 Marked For the Death (The Living Daylights), 007 Against GoldenEye (GoldenEye), 007 Tomorrow Never It dies (Tomorrow Never Dies), 007 - The World Is not Sufficiently (The World is Not Enough), 007 - A New Day To die (Die Another Day), e the film of Bond of bigger success until today, 007 Royale Casino (Casino Royale).

Its impressive list of cinematographic credits you add includes Superman I e Superman II, One American Lobisomem in London (An American Werewolf in London), The Spies who Had entered In a Cold (Spies Like US), Enrique V (Henry V), Mine Adorable Laundry (My Beautiful Laundrette), Personal Services, The Life of Brian (Monty Python' s Life of Brian), Otelo (Othello) e, more recently, a comedy of intitled animation Jackboots on Whitehall.

KEVIN TOD HAUG - TRACER OF VISUAL EFFECT

The career of Kevin Tod Haug in the visual effect folloied the change of the ótico paradigm for the digital one. It started its career as one of the first programmers/operators of motion control, it passed to the production in graphical computation and made the televising transistion to the integrally digital effect , working in commercial, productions and videoclipes - with prominence for two of videoclipes more you celebrate (and expensive): Bedtime Stories of Madonna, Mark Romanek, e Scream, of Michael and Janet Jackson.

In the last decade primordially , one dedicated the projects cinematographic. It supervised the effect of three films of David Fincher: Lives in Game (The Game), the Club of the Fight (Fight Club) e The Room of the Panic (Panic Room). It constructed one of the first lines of production of digital internegativos for long-metragem the visually flaring one of Tarsem, The Cell (The Cell). Recently, Haug signed the visual effect of The Magical Store of Toys (Mr Magorium' s Wonder Emporium), of Zach Helm.

007 QUANTUM OF SOLACE it marks the fifth contribution of Haug with the director Marc Forster, after In Search of the Land of Never (Finding Neverland), the Ticket (Stay), More strange Than the Fiction (Stranger Than Fiction), e The Hunter of Pipes (The Kite Runner).

Haug is member of the DGA and the CIA (California Institute of the Arts).

DAVID ARNOLD - COMPOSER

David Arnold it composed and it produced the track of 007 QUANTUM OF SOLACE, its fifth film of James Bond, after 007 Tomorrow Never It dies (Tomorrow Never Dies), 007 - The World is not Sufficiently (The World is Not Enough), 007 - A New Day To die (Die Another Day) e 007 Royale Casino (Casino Royale).

Consecrated as one of most succeeded young British composers, Arnold started its cinematographic career producing shortnesss-metragens with the friend and cineasta Danny Cannon, learning alone to compose, to orchestrate and to edit the tracks of the films of the pair. In 1993, it composed the track of the longone of estréia of Cannon, Gang American (The Young Americans), combining exuberant orquestrações with vocal of the Bjork singer in the song-subject, “Play Dead”, a commercial success and of critical. After that, it composed the track of Stargate, the success of scientific fiction of Roland Emmerich, who gave to the Arnold its first prize BMI.

Since then, David Arnold already was recognized for the cinematographic industry as a composer, arranjador and talentoso and versatile producer. Winner of seven prizes BMI for its tracks 007 - Tomorrow Never It dies (Tomorrow Never Dies), 007 - The World is not Sufficiently (The World is Not Enough), 007 - A New Day To die (Die Another Day), Stargate, Independence Day, Godzilla e + Quick + Furious (2 Fast 2 Furious), it also won a Grammy with Independence Day, the prize Ivor Novello with 007 - The World is not Sufficiently (The World is Not Enough), a Fellowship of the British Academy of Composers and the prize of the Royal Television Society with the track of the seriado comic actor of the United kingdom, Little Britain.

As composer of 007 Royale Casino (Casino Royale), Arnold composed in partnership with Chris Cornell the subject of the film, “You Know My Name”. The song was indicated to the Grammy de Melhor Song-Heading of Long and won the prizes Critics Awards and World Soundtrack Awards de Melhor THERE Song.

The too much credits of Arnold include the tracks of Shaft, Is of Control (Changing Lanes), Thick Lead (Hot Fuzz) e, more recently, How You the Lose Friends And Alienate People. After to conclude the track of 007 QUANTUM OF SOLACE, it will compose the track of the next adventure to Nárnia, The Chronicles of Narnia: The Voyage of the Dawn Treader, e also is developing a teatral musical comedy with the letrista Don Black and the producer Michael Kuhn.

Far of the world of the cinema, Arnold keeps a successful career of record producer and composer, working with innumerable artists contemporaries, as k.d. lang, Pulp, Chrissie Hynde, Iggy Pop, Garbage, David McAlmont, Martina Topley-Bird, Natasha Bedingfield, Aimee Mann, George Michael, Damien Rice e The Kaiser Chiefs.

“I NEVER DOUBTED THAT WE WOULD MAKE AN EXCELLENT FILM”

Daniel Craig - James Bond

Daniel Craig reprisa o papel de James Bond depois do enorme sucesso de 007 CASINO ROYALE (CASINO ROYALE), that it marked its estréia in the paper of agent 007, in 2006. “Nor it seems that I stow far. I became involved myself for a well bigger time of this time and already he worked in 007 QUANTUM OF SOLACE for about three months before the beginning the filmings. A film of Bond is a gigantic part of machinery that, to be ece of fish in functioning, requires an extraordinary moment and much propulsion. We demons the initial kick soon after the Christmas and everything started if to incase in its due places.”

After the innumerable records beaten with the success of 007 CASINO ROYALE, Craig not underestimation nor a little the task that waits it. “I do not find that this film will be more easy, seems until more difficult. A great expectation hangs on our shoulders of this time, what it can be a knife of two gumes. We need to make a film better still. All always comment the fact of 007 CASINO ROYALE to have been an innovation with relation to the filmografia of Bond, and this necessary film to innovate one more time. We have in the direction Marc Forster, who is one cineasta extremely visual, and as managing of the second unit Dan Bradley, that films scenes of action in shining way and extracts of them the maximum of its potential, and the combination of these two talentos is our great trunfo: we contract the biggest artists who we could to make optimum possible Bond film. All are very enthusiastic with the perspective to create something different. We are giving continuity to the history of the last film, however exploring things different. Marc (Forster) possesss a well different point of view with regard to the film and I am, personally, sufficiently empolgado with this.”

007 QUANTUM OF SOLACE it is the first direct continuation of a film of the series James Bond, as Craig explains: “We find that we needed to decide the points that had been hanging to the end of 007 CASINO ROYALE e also to inform the public that we are making new films of Bond. For me, it is treated to create something that has proper life, but being joined the two films, you will have an incredible experience, therefore it will have a continuous history.”

Craig elaborates concerning its professional relationship with Marc Forster: “I and Marc in the demons very well as soon as in know them. I never had doubts of that, if we in joined them and used to advantage the ideas and emotions one of the other, we would make an excellent film. This is the main point on which we two always spoke and we are in one same tunning. Marc is, obviously, under an uncommon pressure, on account of the expectations, the budget, the locations, the climatic changes, the list is infindável, but we need to follow ahead and we have to raise this film to a new platform and to make an independent film of the last one. Not because we want to change some thing, and yes because it is important to keep the spirit of newness and innovation. Marc has been firm how much to this, and I am extremely happy with the way as it dived deep.”

007 QUANTUM OF SOLACE he promises to have the double of action scenes and Craig hugged the chance to train for they, aiming at to make proper it the biggest number of scenes that the production to allow. “We already start the all vapor. The 0 variable in a film are as much as this. In certain way, everything still is newness for me, but you need to work with security and to try to obtain the biggest possible time for the assays and the training of the action scenes. sets many dangerous times are complicated and, therefore we need to make right all the marks, the time all, and wait that this adds value to the end item still more.”

007 QUANTUM OF SOLACE it was filmed in more countries of what any another film of the surmounting, and Craig explains why: “I find that the responsibility of the films of Bond is to take the spectator the new places. It is important to see this personage going the emotive places and in making to see them the world in a different way. For me, when I age boy, the films of Bond carried me one another world. It was important to know locations different and to see as the world is wonderful and diverse. If this was the only reason to make this new film, us already was successful.”

Daniel Craig integrated the process of escalação of the cast and if he remembers the search of the actress certain to interpret Camille: “To find women pretty who are good actresses he can be complicated, but already to the end of the election process, Olga was perfect in the hearing, it was fantastic. It is an excellent actress, beyond pretty, then, everything was incased. It has a fantastic frieza and a distanciamento, that are really essential to its paper, because as much it how much Bond is in a revenge day. They become partners the contrataste and this becomes its interesting relation still more, especially because we are retaking the history of 007 CASINO ROYALE where Bond if got passionate and was traído. This had an enormous impact on it and is explored in this new film, then, to know one another woman and if to get passionate did not make no direction absolutely.” Said this, Bond still thus has fun sufficiently with the agent Fields, interpreted for Gemma Arterton. “The personage of Gemma is excellent and it she dives deep in the personage. It is an agent who, at a first moment, seems lost, but is more intelligent of what we imagine initially and if unites the Bond. It hurt and is unbalanced, and there, happily, Gemma appears”

The French actor, Mathieu Amalric, interpret Dominic Greene, the villain of Bond. “Mathieu is a sensational actor and the villains of Bond very need to be intelligent. It is not a wild scientist nor an academic maluco trying to dominate the world for intermediary of science. It is simply an aggressive man with an intellect highly developed that is using its talent to manipulate the people and if to possess of lands for the whole world while it will be able and will be alive. It does not import who hurts, nobody will interpose itself in its way. Mathieu esteve perfeito, ele entendeu totalmente o papel e foi fundo – é isso o que queremos de um vilão Bond.”

Although the arduous work, or perhaps exactly because of it, Craig if shows enthusiastic: “Incrivelmente I am excited with what we made and made an impression with the volume of the work that we carry through. We use as many locations, the film has a flaring appearance, and finds that we obtain something really special. Or better, I know that we create something really special.”

“IT IS MOTIVATED BY THE REVENGE”

Olga Kurylenko - Camille

Olga Kurylenko speaks concerning the personage who it interprets in 007 QUANTUM OF SOLACE. “Camille is a young with a tragic past - because its family was deceased ahead of its eyes when it was small. It suffered very and if she became a hard person for cause of this. It knows the man who decimated its family and is motivated by the revenge.”

“Camille intelligent, is focada and adept. It has the instruments to fight, but also she does not have fear to use its feminine charm. In the truth, exactly for being woman it is that nobody suspicion of it.”

“When it knows Bond, it nor it repairs in so definitive and intent it of who is in its mission of revenge, but, to the few, it understands exactly that they walk in the same direction, that its objectives is not accurately the same ones.”

“I do not find that Camille is typical `Bond girl'. It is one of only `Bond girls' in the history of the series that does not sleep with Bond! Camille is a strong personage, it she knows what she wants and she is determined.”

Kurylenko had of if submitting to an exhausting training for the sequences of action of the film, as proper it explains: “Later that I read the script, I was super empolgada. I adored the personage and adored to see to participate it of as many scenes of action. I perceived that I would very have work with weapons and risky scenes, piloting cars, jumping in free fall, and where more I would have the chance to make this? I trained with different people the work in each type of scene: the fights, the motor boat, the car. The team of action scenes helped me very, everything is a learning question and them they are good professors, everything very is well explained. In one determined occasion, in the scene of the party, Greene (interpreted for Mathieu Amalric) it would have to almost shoot me of the high one of a railing. I have fear of height and when vi set, I thought that never he would obtain to make that - I nor obtain to go until varanda of my apartment. But the team technique took me until up there and repasses the scene slowly. They had been so patient that I obtained to make the scene”

Kurylenko also alone has admiration and compliments stop with the director, Marc Forster: “Marc is very talentoso. I attended all the films of it and adored all they. It is an artist and has confidence in it. Either what it to say, I believes it, because I trust the vision of it. It dirige in a very subtle way, is not alone the action that matters, and yes the people and what they feel.”

In the paper of the co-protagonist of Daniel Craig, Kurylenko speaks concerning the work with agent 007: “He is excellent to work with Daniel. It is professional and has much concentration. It total is focado and serious with regard to the paper, but he has an excellent sense of mood - the funny jokes of it are muitíssimo. I believe that the success of Daniel when assuming the paper of James Bond if must to the fact of it be a great actor, but its appearance also is very important. It has a vigorous skill másculo and. The force of its look is incredible. I could feel this in a scene where it looked at for me and seemed to beach a ship me with its eyes - it is a very powerful look.”

Kurylenko also divides a long time in scene with the adversary of Bond in the film, Dominic Greene, interpreted for Mathieu Amalric: “Mathieu also is very careful with regard to its personage. The way is brilliant as it prevents the cliche, opting to not following the way most easy. It does not interpret a villain in obvious way. It is worried in disfarçar this, and I adore I work of it, therefore its villain is really appalling. Greene is very shy, very gentile and subtle e, suddenly, it occasions and of the one machete blow in its coasts. Mathieu is really making an excellent work.”

“SHE WILL BE ONE FIGHT BETWEEN TWO ANIMALS”

Mathieu Amalric - Dominic Greene

Mathieu Amalric speaks concerning as `villainous of Bond' was modernized with its personage, Dominic Greene. “What it pleases me in the personage, and me seems an excellent idea, it is that it has a Greene in public and one another Greene in particular. The face is shy in public, does not speak high, does not have much nimbleness speaking ahead of an auditorium, but, in particular, it it is total different. It tries to kill Camille, therefore he finds that it is using it for its personal revenge. Soon of face, I asked to the director if I could scrape the head, or to have a scar or an eye that bleeds, any thing that helped me, and it said: `Not, its eyes already will be the sufficient'. Then, I had to ask to me: `What it makes of a citizen a villain' It cannot be only the people fancy insane person who wants to destroy the world, is not this. Então, o impulso precisa ser psicológico. If the personage will be more for whom she is trying to disappear, that she wants to be invisible, that she almost wants to be a wall paper, this makes more direction, because she is well more efficient thus. Unhappyly, nowadays, it is well more difficult to identify who are the villains in our lives, and is accurately this what we search.”

“Moreover, I taste of the fact of Greene to have aversion for blood. The violence is abstract and this also has to see with the world of today, where if it can make everything for intermediary of the computers. Since 007 CASINO ROYALE (CASINO ROYALE), they had changed a little the texture of the films of Bond, having looked for something that has more relation with the current times and either more representative of the world where we live.”

Concerning the work with the director, Marc Forster, Amalric observes: “Marc total is syntonized with its personal vision of the film and is concrete the alchemy that it searchs. For example, to the times, it it likes to make two consecutive taking without camera cuts, to allow a bigger delivery of the actors, without in such a way control. I find that it searchs to more catch something in our face expression or a moment of action. But, to the end, I find that it looks a bigger realism. He is excellent to work with Marc because it really adores the actors. For example, I did not understand I eat I was possible I to become a villain of a film of James Bond, but I find that she is because necessary Marc if to feel inhaled by its actors. It likes them people who it films, people feel this in its previous films, and I have the certainty of that he was because of the Marc who I was scaled.”

“To work as actor already it is surprising for me, a time that during most of my life, I directed films. I never thought about becoming actor, but he has something of challenger in if using its body integrally. I adore the fact to feel fear. To be scaled as villainous of a film of Bond is, in part, a great joke and, on the other hand, an enormous pleasure. I did not wait that my life brought me as many surprises.”

In the skin of the adversary of Bond in the film, Amalric shares some scenes with Daniel Craig, but for it, most emotive it is the fight between Greene and agent 007. “I have much luck, because, in general, the villains never fight. But in this film, I have an excellent scene of fight with Daniel in the end. Greene does not know to fight, then James Bond is surpreso, therefore it is not the type of classic fight for which it was trained. It will be a fight between two animals.”

Amalric also shares some scenes with the co-protagonist, Olga Kurylenko, and them they had developed together its respective personages. “I adore to work in this film for if dealing with a workmanship in progress, where we develop it to the measure where we assay. With Olga, it has something so obvious between us that, for me, it is a pleasure. I do not need to act, only necessary to believe that everything that is together truth and us we look the way. As all good actor, it it cannot interpret alone. It, as well as I, very is empolgada by being here and loves the physical training and learning some new things, as to direct an car to the all speed and to fight, abilities that can very be useful in the life. The personages of Greene and Camille live lying one for the other and for that they surround them. We need to think as this if it would give in the real life: to lie so convincingly that until you yourselves it arrives to believe, since its life depends on this.”

“WE GO TO COUNT AN EXTRAORDINARY HISTORY”

Judi Dench - M

Judi Dench reprisa the paper of `M', the head of the MI6 and James Bond. “He is fantastic to be in return, is simply wonderful! To work with Marc [Forster] has been absolutely fantastic. It accurately knows what he wants and when we receive our cronograma from work, it comes folloied of a list of taking, thing that I never had before. It is sensational. He is wonderful to work with this type of disciplines.”

Dench incarnated for the first time the paper of the head of agent 007 in 007 Against GoldenEye (GoldenEye), when Pierce Brosnan made its estréia in the paper of Bond. 007 QUANTUM OF SOLACE it is its as film with Daniel Craig as Bond, and it it comments concerning the work with the colleague: “Daniel is more relaxed now, even so seems to make use of an infinite dose of energy to loan to the personage. It is a magnificent Bond, simply magnificent. The thing most wonderful is to have the open mind so that the things can in surprising them or empolgar. Our business is to count histories and goes to count an extraordinary history.”

Although if it has become famous in the entire world as star of great successes of the cinema, are in the theater that Dench if really feels in house. “The theater is where I feel more to the will. I have 51 years of performance in the theater, that is something that I love. In the truth, I started late in the cinema. I had made few films before Its Majesty - Mrs. Brown (Mrs Brown). Mrs Brown it was the film that changed everything e, suddenly, I I came back to America after a hiato of 38 years. The people asked to me: `Beyond Mrs Brown and of M, you made plus some another thing' E immediately I thought that all my classic repertoire had disappeared and been reduced leached ashes, nobody I had I heard to speak in it! I do not know if I have a bigger number of fans, but my name if became familiar next to an entirely new public, as my grandsons, and, in some cases, the parents of them. Eu espero que os jovens freqüentem o teatro, minha função é atrair público para o teatro, porque as pessoas já vão ao cinema de qualquer jeito. I adore the auditorium of the theater and if the people in see them in a film of Bond, them can feel themselves persuaded to go to see another thing.”

Said this, Dench always is had fun reincarnating the personage `M'. “I taste very of it, is simply irresistible! [In 007 QUANTUM OF SOLACE] the spectators go to more know a little on `M'. Already we know it a little better in 007 CASINO ROYALE (CASINO ROYALE) e more still in this film, especially the development of its relation and its interaction with Bond. The way is interesting as it deals with it and as it deals with it. It is not 100% insurance with relation the Bond, is not certain if she can trust it fully.”

“Moreover, the MI6 if sophisticated substantially. Everything what necessary to say it is that I do not believe that our government makes use of resources to transform the MI6 into my MI6. I doubt that they have conditions to make this. Something is sensational, nor uses more telephones”

“ITS LIFE FINISHES TO MOVE FOREVER”

Gemma Arterton - Agent Fields

Gemma Arterton speaks concerning its personage, the agent Fields, and on what it differentiates it of the typical one femme fatal generally associated to the films of Bond. “The agent Fields works for the MI6. It tries to be professional and if she takes the serious one very, but she is ingenuous, what she becomes it a funny personage. Fields if judges capable to control Bond and constructs false impersonation, but it soon pulls down, then she has something of very real in it. Fields is not one femme fatal, a powerful and beautiful woman, it are sufficiently natural and somebody with who you can identify yourself.”

Arterton had to film the scene of its death in its first day in set, and it speaks concerning this experience. “Fields is assassinated by the outlaws. It looks for to save Bond distracting them, but they know that she was it and they kill it drowned in oil. It is found naked in the bed that had shared with James Bond in the previous night. The filming of this scene was brilliant, even so has been one in such a way stranger. I was taken to set e dived in oil and I needed to be there for almost two hours. I did not obtain to move myself, did not enxergava nothing, did not obtain to breathe right nor to hear nothing, because the oil entered in my ears. At that moment, I found that something was well ackward, but later I thought that this is something which forever I go to remember and that it will be a icônica part of the film.”

Just-exit of the course of Scenic Arts, Arterton describes what it happened when it knew that she had conquered the paper: “When I made my test of camera, I found that it had IDO very badly. Then, some weeks later, I was twirling a film in the way it sea, in Gibraltar, filming with a diving equipment, when I received a linking from my agent cantarolando the subject of James Bond for the telephone. I never go to forget. My colleague of scene if capsized for me with tears in the eyes and said, `This is a marcante moment in its life. Its life finishes to move forever and I was present when this happened'. Thinking about this now, the way of my test, `Nobody Does It Better' he touched in the radio of my car, then I find that he was something that was predestined.”

“The difference between working in a film of Bond and in excessively is the time of that we make use. It has an enormous attention to each detail. In a film of Bond, one day entire is dedicated to an only scene, to guarantee that it has left perfect. All are best in what they make, then, I were sufficiently distrustful, since I am new in everything this. Michael and Barbara [ the producers] are wonderful. A film of Bond is surrounded of great expectations and them they know how much this can be intimidante. They understand this and in they support them. Whenever they saw me paralyzed, them they looked for to encourage to me, to give security to me, what it very facilitated to the work of all the involved ones.”

Beyond the support of the producers, Arterton if felt insurance at the hands of the director, Marc Forster. “Marc understands well what she is to be actor, she is experienced and she very trusts all we. It believes our talent and that we know what we are making with our personages. Marc in the ones of the freedom to make our work and adjusts our performance. It does not need to speak excessively to obtain what he wants, it says only one thing, in the fly. To the end, it he has a great confidence in all we and you feel that she is in good hands.”

Louise Frogley, the figurinista, made question to count on the participation of Arterton in the choice of the wardrobe adjusted for Fields. “I wise person do not eat I would be my figurinos - originally, they wanted that my appearance was careta and composed well, but we also wanted to give to my personage a wild and irreverent air that reflected the personage, who tries to be something that it is not capable to support. In one determined scene, it it dresses one trench coat, but it does not use nothing underneath. That is, it seems to be arranged well, but she is vulgar at the same time! The same thing happens with the figurino of the party, then, the style of my wardrobe is perfect for my personage. My dress of the party is pretty, well to the style Audrey Hepburn, but he is something that Bond had bought for me, then really is of good quality. It is a Prada that falls me as a glove. It has a great bow in the front, is deloused, but he is well attractive.”

“The choice of the figurinos well was amused. I find that Marc had well defined ideas, as well as everybody has an idea of as they find that a Bond Girl he must be, but I made question that my personage had an original and realistic appearance. Very he was amused to try all those clothes, and in the choice of the dress, the staff of the department of figurinos spoke in cutting some pieces of the dress of a side and amending others of another one - and inside of my head, I cried out: ‘Mas é um Prada!’ Até no meu teste de câmera eu usei um vestido Dolce & Gabbana que eles cortaram para ajustar ao meu tamanho – e olha que era apenas o teste de câmera!”

To work with Daniel Craig was one of the high points for Arterton. “Daniel was shining, it is really one legal face. Of beginning, I was very nervous, because I had seen it in 007 CASINO ROYALE (CASINO ROYALE), but when you know it, it is very sensible, generous, and us we laugh very. He has been excellent.”

“WE FORM A PAIR OF THE OPPOSITES”

Anatole Taubman - Elvis

Elvis is the right arm of Dominic Greene, and Anatole Taubman if she strengtove to develop a personage whom if she differentiated of the too much body guards of other films of Bond. “What he pleases me in the film is to have a clear-cut format in the script, but Marc very is opened and in the ones of the freedom to develop the personage still more. It has its vision, but he invites other artists to help it to give it to it form, then, all we have a creative participation. I want to create possible the most irascible and interesting Elvis. I suggested a wig to the style of hair of monges and Marc agreed. Then, defined the head of the Elvis, the department of figurinos contributes with another characteristic. From there, the maquiagem department adds plus a layer, and all has this interchange in the development of the personage. It is a workmanship in progress and, in the first day of filming, the Elvis was created.”

“Elvis is the partner of Dominic Greene for the good or the evil, depending on the situation. The problem of the Elvis is that it had a difficult past and always needed to fight for everything, in material terms. Greene, a rich and influential man, placed it under its protection and, of one hour for another one, Elvis if she saw wearing the best clothes. It is great `fashionista', it adores clothes, but he always has something of made a mistake with its appearance, something bizarro, stranger - what it is a consequence of its personage. Elvis is the escudeiro more loyal than any head could desire, but she is not very intelligent, it he is half dull and one in such a way disfigured.”

Anatole contrascene with Daniel Craig in some scenes and has a deep respect for it as actor. “I find that it was a brilliant decision of the team of Bond to scale an actor of the bore of Daniel Craig to be the new James Bond. Necessary Daniel sufficiently to be disciplined not only in the screens, but also in its free time. It is very professional e, considering itself all the pressure the one that must be submitted, it continues humble and accessible. I have an enormous respect for it.”

Taubman folloied the characterization of Greene on the part of Mathieu Amalric with great interest. “Mathieu makes an excellent work, therefore a villain is more interesting when you search to reinventar it in each scene so that it is not previsible. It is a shy, reserved and highly complex psychopath who badly obtains to face its adversaries. Greene closes businesses millionaire, negotiates with governments, the CIA, MI6, playing ones against the others. Mathieu interprets it in a well contained way. Until in the end, it if it becomes one pitbull, a raging and wild animal as a child who loses the control, and everything what it wants is to finish with the life of Bond. Then, of this reserved citizen, this energy appears insane and explosive - it is a fantastic line of work.”

The team and the cast had made innumerable trips during the six months of filming, what Taubman entusiasmou. “For me, it is what it has of better in the life. I adore to travel, to know places, new people and cultures new, and have made this I have years. Panama was wonderful, everything is possible there. You travel 1,5h until Colón, and know a world completely different: a declining, dirty, very poor place. That is, it is a rich in diversity , but very interesting country. The fact of terms filmed there created many chances of job and the visibility to the country. They feel pride in having a mark as Bond attracting the attention on them. I talked with some places and feedback he was sufficiently positive.”

When asked to which it considers the high point of the filmings of 007 QUANTUM OF SOLACE, Taubman answers without hesitating: “To know Mathieu [Amalric]. It genuinely is illuminated, a true inspiration, is very cultured, understands on photograph, literature… I feel I eat if I had made an intensive course on cultural history and politics of France. It was a true gift to make a new friend. We form a pair of the opposites in the film, and also it are of the screens.”

“AT SOME MOMENT IN THE LIFE, ALL WE ALREADY WERE TRAÍDOS”

Marc Forster - Managing

007 QUANTUM OF SOLACE it is the first film of James Bond de Marc Forster. It explains why the project attracted it. “For me, [Bond was a well difficult decision to make a film of the surmounting], for if dealing with something so different of everything what I made before. When you dirige a long one of Bond, go to inside make a film of certain preset parameters. It has diverse aspects in one 007 that they cannot lack: Bond, the women, the carrões, the history and millions of fans, and this represented an extraordinary chance for me. I was empolgado with the possibility to find a way creative to inside count to this history of these parameters and wise person who would be a great challenge. It was accurately this challenge what more it attracted me.”

The thundering success of 007 CASSINO ROYALE (CASINO ROYALE) it implies in one another challenge, continues Forster. “007 CASINO ROYALE she made an enormous success, and because of this, the people have still bigger expectations. I found that the first films of Bond of years 60 (with Sean Connery in the paper of Bond e sets created for Ken Adam) they were to the front of its time in terms of the drawing of production, the locations and its appearance, and was this what it served me of inspiration. I perceived that I had space to create a new visual style for the Bond surmounting.” Forster contracted the production tracer awardee with Oscar®, Dennis Gassner, to help it to materialize it the vision of it. “One of the reasons that had taken me to want to work with Dennis was because it creates appearances that never had been seen previously, in films as THE TRUMAN SHOW, e in its work with the Coen brothers. All its sets they had been created with a estilística vision of great force, what it was essential to the universe of Bond.”

“The other great attractive one was the chance to work with Daniel. It is a very interesting actor. Psychologically, it brought in return the realism to the films of Bond. He is not an unattachable hero, it has defects. It possesss a vulnerability and an emotional complexity that become it human being.”

“Many of my previous films emotionally present restrained personages. When you analyze people who do not obtain to state what they feel, they are emotionally deficient. I am interested myself thus for personages, because he is about a common illness in the humanity. In the end of the accounts, if you obtain to open its heart for the world, you if she becomes a more sensible and conscientious person. Our limitations always in send them to our incapacity of in stating them emotionally, and Bond is the perfect example of this. Bond not yet wise person, of fact, what was to love until knowing Vesper [in 007 CASINO ROYALE] and this love was taken off to it. Judging to have been traído, it is one in such a way disoriented one and if he becomes incapable to trust any person. For me, the central subject of 007 QUANTUM OF SOLACE it is the confidence.”

Having in its resume a series of films praised for the critical one moved for complex personages, Forster speaks about of its experience directing an action super-production. “To think about directing a action film he was much more frightful of what, in fact, dirigiz it. In these productions of action, you it counts on an excellent system of support and a team with much experience in the sort. To plan and to write a action film are more difficult of what filming it. The secret of one action film is in its narrative, because to film scenes of action for the action in itself he is uninteresting and it does not contribute for nothing.”

007 QUANTUM OF SOLACE it was filmed in more exotic locations of that any one of the too much Bond films in the 46 years in the history of the surmounting and Marc Forster was the incentivador greater of this decision. “Exotic Locations already are the registered mark of the films of James Bond. They are crucial in the direction to help to carry the public to a different world. It is difficult to find locations for Bond, therefore the standards are higher and the world is if becoming each lesser time. We also needed to find locations that reflected the state psychological of Bond. For example, one of the reasons that made me to choose the desert was because it represents the solitude and the isolation - it represents the state of spirit of Bond.”

Olga Kurylenko was scaled to interpret Camille, a vulnerable, however dangerous woman, determined to avenge the murder of its family. “I looked somebody that I was the feminine counterpoint of Bond, fighting with similar questions. Olga understood the psychological and physical aspects of the personage. As mega had never acted in one action production before, it needed to pass for a rigorous training and carried through same it many of the risky scenes, what she was crucial to become the possible most realistic film.”

The French actor Mathieu Amalric interprets Dominic Greene, but he is not about estereótipo of the Bond villain. “Mathieu is a very special actor, with a reserved and irresistible skill. I found that it would be well more interesting to scale a man of innocent appearance to live a personage who is, in fact, frightful and dangerous. Throughout all the film, people pressente and glimpse the true essence of the personage, but she is in the final sequence that its true nature is disclosed, and we see as it can be maldoso and frightful.”

“During the period of the cold war, the cinema occidental person had a clear image of what it was the good or the evil. Today, however, these limits if confuse. People do not know plus who are the villains. Bond could have abominable traces. I believe that it is important to examine this. What it really means to be good or bad? What it means to kill or to lose somebody? Which is the psychological impact of taking off the life of somebody”

Judi Dench is welcome in its return in the paper of `M', the head of the M16. Segundo Forster, “Judi is one of the biggest alive actresses. To work with somebody of the bore of Judi is an honor. It has a so strong presence that I wanted to develop the personage still more. `M' is the only woman who Bond not enxerga inside of a sexual context, then, is important to give to the two more time together. Observing the interaction between them, we discover a different side of Bond and learn more on both.”

Forster summarizes: “Permeia the central subject that 007 QUANTUM OF SOLACE it is the confidence. The confidence can assume innumerable different forms. Who we really trust? You trust itself exactly? We trust the others? All the people have questions related to the confidence, therefore at some moment in the life, all we already were traídos.”

“We do not believe that rules exist”

Michael G. Wilson and Barbara Broccoli - Producing

Michael Wilson and Barbara Broccoli comments as the personage James Bond if he developed since the last film. “In 007 CASINO ROYALE (CASINO ROYALE), Bond was emotional and deeply hurt and it it needed to surpass the traumatic experience that had with Vesper. Bond recognizes that it cannot abandon the private service nor find the love in the normal direction of the word, forming a family nor nothing seemed. It is imprisoned to its work and its world is dangerous and violent excessively to be shared with another person. Bond does not want to be vulnerable the blackmails nor wants to put another people under the risk of being chantageada.”

007 QUANTUM OF SOLACE one hour after the end starts of 007 CASINO ROYALE e marks the first time in the surmounting of Bond that two films are twirled in a direct sequence. Wilson comments: “We do not believe that relative rules to the way exist as the surmounting we are managed. We already insert references to a film in another one, but of this time, this seemed to be a natural thing, a time that as many questions had been without reply in the end of 007 CASINO ROYALE. E we find that our public will be interested in the answers.”

The producers speak concerning the success of 007 CASINO ROYALE e why they had found that it was the alias process to come back to the beginning of the career of Bond, presenting Daniel Craig in the paper of agent 007. “No longer first test of camera that Daniel [Craig] made for we, we had the certainty of that it would be a great Bond. To start, it was pretty, sufficient másculo and if he keeps in an excellent physical form - all the prerequisite ones for the paper. Moreover, it is an excellent actor. E this is what it really matters above of everything. It of the account of the message. It is probably optimum actor of its generation in the United kingdom, if not in the world. Therefore, we had much luck for it to have if seen in the paper and if to show made use to accept it. In according to place, the narrative was taken off directly of the workmanship of Ian Fleming and, therefore, it had an excellent structure. I find that whenever we make a new film with a new Bond or when we take the film in a different direction, we never have much certainty if the film will be popular. Obviously, she is rewarding when it becomes popular, but people never know the success that it will make until this happens. Now, we want to duplicate the success of 007 CASINO ROYALE e to surpass it.”

As much Wilson how much Broccoli likes to work with Craig. “It charming, is amused, loyal and gotten passionate - all the characteristics that if find in a great actor. Daniel really likes to make these films, it if he dedicates they of body and soul and extremely is applied and serious with regard to its work. In 007 CASINO ROYALE, it was exploring the personage and, since then, he acquired much more security, then, now he is interpreting Bond with more confidence and a certainty that is fruit of this security. The creative suggestions of it are welcome, therefore it understands well the personage very and, therefore, in everything what he is mentioned to the script and that he affects the personage of James Bond, it if he involves the deep e, then, its contributions are very important.”

It is the first time that Wilson and Broccoli work with cineasta awardee, Marc Forster, and them they had been made an impression with its methods. “Marc is the director most prepared with who we already works. It has programmed all sets e locations and works with the cinegrafista of the illumination [Robert Schaefer] in the mapping of all the taking, detailing where the camera will have to be located in each sequence. Everything this is made at the beginning of the film for the entire film and it if it abides by the plan. Its first assistant, Michael Lerman, also extremely is well prepared and prepares a cronograma of the taking with the time that each one will demand of hour in hour, with the objective of each day. He is incredible to see them working together.”

The producers had supposedly filmed the last scenes in Haiti and in Bolivia in locations in Panama and Chile, Wilson explains. “It is very easy to work in Panama - it is a place of easy access, has the appropriate style of life, the people say to English fluente and the infrastructure of the country is good, not necessarily for filmings, but in all the other aspects: hotels, transports, etc. In this film in particular, us we needed some locations and, happily, the City of Panama and Colón enters, us could film Haiti in such a way how much Bolivia, then, this seemed the method most efficient to plan the film.”

The producers explain the meaning of 007 QUANTUM OF SOLACE e its relevance in the script: “The heading came originally of a story of Ian Fleming and, in that context, it meant a relationship that could not be recouped, unless it has one `quantum of solace' between both the parts. `Quantum' it means `a great amount' and `solace' it means `consolation', `comfort'. Therefore, to less than they they are made use to share this, the relation between them cannot be recouped. In ours in case that, it wants to say two things: Bond is looking to one `portion of consolation' after its experiences in 007 CASINO ROYALE, and `Quantum', by chance, also is the name of the criminal organization of the film.”

“WE WILL RAISE IT TO A NEW PLATFORM”

Dennis Gassner - Tracer of Production

Dennis Gassner was convoked by Marc Forster (Managing) to enrich 007 QUANTUM OF SOLACE with its drawing of inconfundível and full production of style. Gassner describes its first contact: “When I was to find me with Marc, folloied of Michael and Barbara [the producers], I had attended films of it e, as person, it was wonderful. I found in it a twin soul, somebody full thing of life, energy and delicate and very sensible, accurately as I also am. We in identify them immediately, and when two people if identify emotionally, you know that the work goes to flow well, and were thus. Necessary people to follow our instincts. I follow mine in all the aspects of as drawing my films, I always react emotionally to the things. I am always the first person to go to see the film, then, if I feel that it is is good, I wait that it seems good for the remaining portion of the public, this I am my method.”

Gassner entered for the team still in the beginning of the daily pay-production and explains as the drawing of a project of the magnitude started of 007 QUANTUM OF SOLACE: “When I started my I work, I by the film as a blank screen. I asked for to the Marc who me of this something which to become attached me, we needed to find some thing, a basic rock. When this occurred me, was so obvious - he was Daniel. It is our James Bond. It was the third occasion where I worked with Daniel, and even so it has moved and evolved as actor, a thing remained consistent - a fantastic face; it is angular and clear-cut, it he has excellent textures and, is clearly, those penetrating blue eyes. From that moment, us we start to create the language and we construct everything from then on, combining the taste of the Marc with mine in fantastic textures. If you to analyze the film, it are repleto of this, stuffed of minimum and gigantic elements, creating this tessitura that involves Daniel.”

Pressured to choose its favourite location, Gassner cites set of the ESO Paranal the 2,000 meters of altitude in the desert of Atacama. “I find that I would have of being the ESO Hotel, in Chile. It is the location most remote where we work and it arrived me in a very fortuitous way. We were looking for desert for the world and the Atacama appeared in a colloquy, then I was to search online. The first page of the Internet on the Atacama had a minimum photograph of the ESO hotel and it it jumped ahead of my eyes. I was here in London, Marc I was in THERE ahead of computer of it e, five minutes later, it bound and said to me, `Achamos, am this! '”

The choice of Chile as location was a concern for the production, in terms of the budget, but Gassner and Forster were confident of that it was the made right decision. “This essential age to the production of the film, and who knows the challenges that we will face in the next one or in the film that will be followed to the next one. When we analyze the description of these films [Bond], they had always looked for to stimulate the spectators in diverse ways and this film is not no exception. We will raise it to a new platform.”

The building of the ESO Paranal has a air reminiscente of sets of the films of Bond of the decade of 60, according to Gassner. “I did not choose the ESO Hotel because of the cupola, what he sends to that sensational scene of 007 Against the Satanic Dr. In (Dr In); simply the case was this. I am satisfied, because I adore that scene, but I was not a conscientious choice. I was simply trying to decide my problems. We have the time in mind all the history of Bond, but it was an extra motivation to know that we were taking the decisions certain.”

Michael G. Wilson and Barbara Broccoli are the producers that had inherited the legacy of Bond of its father, Cubby Broccoli, in 1995, and had ahead taken the surmounting with a success each bigger time. Gassner liked the experience to work with them. “History is excellent and has the biggest respect for Michael and Barbara, with who is excellent to work. They are curious, interested parties, are always gifts, in they leave them to make our work and they make the appropriate questions. She is a great family, and it is important that it is thus in this type of film.”

One of sets more impressive of the film she is the quarter-general of the MI6. Gassner projected sofisticadíssimo nervous center of the private service as much light and glasses. “I surpassed the limits to modernize the MI6. In CASINO, I felt that Judi I was in a place that was as a bridge enters the old world of `M' and the world of Bond, and I I wanted to modernize the personage, I I wanted it using a computer. The voice of it is the inconfundível identity of the MI6; its is the supreme order. I decided that it I must have one `intelligent wall' whose equipment would be activated by the voice of it, to command and to control its world. This if became an amused image to be explored. I wanted that the personage if felt fort and in the command, but still I continued being the Judi, then, it keeps a certain smoothness. For example, we construct the room of the house of `M', that she was modern, but with a soft illumination and discrete decoration. We respect the past of it, but we wanted to become the personage most sophisticated.”

At the beginning from the daily pay-production, Gassner received a phone call of Daniel Craig. “Barbarous it passed me the telephone and he was Daniel of the other side of the line. It said: `Dennis, I am so satisfied for you to be in the film. I wanted to say a thing to it. I want that you he takes off the gloves and he gives everything of itself until the meetings of its fingers to bleed.' The phrase was in the mind of Gassner throughout all the film. “He was excellent to work with it of new. What it pleases me in the Daniel is that it of the everything of itself in the paper and is always searching the truth of the personage. E is this what I always am trying to make, to search the truth of the personage and, waits, that everything makes sensible.”

“WITH AN ACTOR AS DANIEL, YOU IT CAN USE ANY THING”

Louise Frogley - Figurinista

Louise Frogley comments concerning the work with Marc Forster, the director, in the creation of the adjusted figurinos stops 007 QUANTUM OF SOLACE. “I never had worked with Marc before, then, I I had to discover the taste of it, so that the figurinos pleased it. I showed it everything what I made since the beginning; e continued sharing everything with it until understanding what it wanted. It has an enormous respect for the professionals who work with it and is receptive to our ideas. Our suggestions give it an idea what it would like and we can continue to leave of this. It is a sufficiently emotive experience.”

The famous estilista Tom Ford was chosen as supplying of all the tender ones of Bond in 007 QUANTUM OF SOLACE. “We arrive at the name of Tom Ford for the tender ones of Daniel, because we wanted parts of would alfaiataria very elegant, extremely cut well, and Tom Ford uses the prestigious Fatory, in Italy. I wanted something that I was pretty and elegant, and in I sent them to the type of tender that Sean Connery used in the first films of Bond. I consider Tom Ford a genius, it I am the maximum. It understood which was our necessities and is therefore that I wanted to use it. The team of it did not save efforts to take care of to our order and it ordered somebody to Italy to only search a specific material for us. I wanted that the tender ones were confectioned in `to mohair tonic'. Something is very difficult to be found, therefore he is one fabric of the decade of 60, and I have certainty of that almost Sean Connery used it in at least one of its tender ones. He is material a well strange one, but he is pretty in the screens, is simply the holy ghost. We not only request a material sufficiently rare, but we request it in an enormous amount, because we needed to confection some tender ones. E Tom Ford found it for we.”

The tender ones of Daniel in the film have one very specific cut. “They are tender to be used without belts; the waist brings adjustments in cós lateral. E the waist is higher, the pants have the legs narrowest and they do not have folds. The coats have a simple abotoamento, narrow lapels and narrow shoulders in the possible measure do for a muscular man as it is the case of Daniel. They have the well accented waist and slightly go if opening until the bar of the coat, for giving more movement to them. They create a divine silhouette.”

Frogley explains its boarding in a production of these ratios, with as many locations to be led in account: “First, you need to read the script and to decide how many figurino exchanges have for each personage. Later, what it will happen with the personage while it/it will be using each figurino. Em alguns casos, Bond passava até 24 horas vestindo a mesma roupa enquanto sobrevivia a uma explosão, era lançado de um avião e se perdia no deserto. I need to foresee the appearance that the figurinos will have later that certain events to occur, but without still they have been filmed. It is a in such a way delicate balance one - to errarmos the hand, for more or less, does not function. I revise everything with the coordinator of action scenes and make the maximum of research on what he will possibly happen with the suits. This is very important in the characterization of all history - the more information you to congregate, more prepared will be for its work.”

“To work with Daniel he is excellent, because it knows the body of it incrivelmente and knows well when something falls to it well. It better does not have nothing of what an actor thus. I dressed it with a Y-3 jacket and it it was sensational - wise person of this and I also. Later, I dressed it with a pair of pants in Staypress fabric, whose caimento was perfect. Many times we dress actors and them they are well, but he has occasions where we have parts that they are sensational, and with an actor as Daniel, you can use any thing.”

For the scene of the party in Panama, Louise Frogley wanted a visual contemporary for Camille (interpreted for Olga Kurylenko) and for the agent Fields (Gemma Arterton). “We dress both the women in Prada for the scene of the party. We do not close no contract with the Prada, simply we happened. The dresses were very simple, however elegant, and were perfect for the personages and the appearance that I wanted.” The personage of necessary Olga to jump of an airplane with the dress that it uses in the glamourosa beneficient party of Greene. The principle, Frogley and its team had thought about vestiz it with one terninho, but the appearance did not seem correct for Frogley. “I perceived that we were selecting the figurinos in accordance with the action scenes and found that we were putting the wagon ahead of the oxen. All had been left to lead for a type of figurino, but when we analyze it with more attention, us in we question them because we were drawing one I finish of long sleeves for a glamourosa party in a country where it makes heat - it did not make no direction. Then, to the end, Camille appears to the party using fantastic black a Prada dress, NOT one terninho”

Frogley describes as it uses the wardrobe to add other levels of reading to the narrative, being chosen figurinos that they reflect each personage. “I wanted that the villains were eccentric, but not intrusivos. If you to repair in the clothes of them, they are a little different, but they do not have nothing of very aggressive. With Anatole [Taubman], I used a medallion of the mark Chrome Hearts for its personage, Elvis. In such a way frightful one is a chromed doll one. Anatole adored it and I find that, in certain way, it he helped to construct to the personage Elvis.”

007 QUANTUM OF SOLACE it was filmed in more locations of what any another film of Bond until today, with set monumental in each place. Frogley explains as it faced the challenge. “First, you need to know who vestment accurately what and when, and there you go making its choices behind onward. You see what she is lacking, where you are the holes. When you work in locations, you need to decide you will be yourself capable to fill the gaps in the proper countries where she is filming. I always have what I call `the ship-mother' of plantão in England, that can send me materials, if necessary. Em 007 QUANTUM OF SOLACE, I obtained to find pretty dresses habillé in Panama, that had been used in the scenes of the Opera Coarse, in Bregenz, Austria. The Panamanians very like to leave at night, but they do not want to spend much money, then, it was the ideal place to find these dresses. Later, I added plus some dresses of the Angels, of London, combined them and find that everything functioned very well.”

“WHENEVER SOMEBODY GRASPS THE ARM OF THE ARMCHAIR OF THE CINEMA OR IF INCLINES FOR ONE OF THE SIDES, I FEELS VICTORIOUS PERSON”

DAN BRADLEY - Director of 2 Unit

Having started its career as dublê, the one that does not lack to the Dan Bradley is experience in action productions and it already it wrote and it directed some of the more revolutionary sequences of action of recent history. 007 QUANTUM OF SOLACE it is the first Bond film de Bradley. “When they had bound me for the interview for the film of Bond, I did not obtain nor to believe. Immediately, I incarnated dublê of 20 years that I had been 30 years behind and, even so I I had finished to conclude mine sixth consecutive film and I was wild for vacations, I never I would lose the chance to work in 22º film of Bond.”

“One of the things that much people do not know is that I write most of the action scenes that I film. Then, the first thing that I asked to the Marc was if it would import if I of these suggestions for the described action in the script. Happily, it liked everything very that I had imagined. Through this process, us quickly we discover that we had similar ideas for the scenes of action of the film.”

“One of the things in which I really believe is that we do not have to try to make that everything minutely seems planned. I always say my team that I want the sensation of that demons luck in testifying a scene risky insane person and. I do not want that it seems the scene of a film, where everything I am presented with perfection the spectators.”

Dan Bradley passed two months with 2ª unit in Italy, filming the automobile persecution and the persecution on the roofs. “I adored to film in Italy, the locations I was flaring, but he has a price if to pay for all that spectacular scene and I paid it in grayish hair. The logistic one of if closing roads in mountains and entorno of lakes meant that, frequently, we made use of a time limited in the streets to film our taking. E automobile persecutions demands time, much time, and the more fast you to want to pilot, more time is necessary. Then, my ambition many times lost ugly for my reality.”

“I adore the moment where Bond loses the door of the driver of the Aston Martin. I never vi nothing equal in an automobile persecution. In the way of the persecution, the door of Bond is pulled out, and to leave from there, each car that exceeds it, each detonation that is made in its direction, has the potential each bigger time to represent the end of the life of Bond. I adore this, adore what in he propitiates them in narrative terms and of the threat that represents for Bond.”

“I am always trying new ways of desconstruir the action so that it seems spontaneous and really dangerous, when, in the reality, everything minute and is carefully coreografado and assayed for our total security.”

“I was very impressed with Daniel Craig. It is, obviously, a talentoso and skillful actor, but he has fantastic ethics of work and is made use to make almost everything to obtain a good taking, including its proper risky scenes. In the persecution through the roofs of Siena, he had some jumps on streets and alleys, to a height of 4 the 5 floors, and Daniel carried through all they. It arrived until jumping through a window, falling down disastrously from a high place 6m on the ceiling of a bus to all speed. It is impressive.”

“I want to awake emotional reactions and visceral in the public and alone I obtain this through a minute evaluation to take my decisions, taken the taking. It is not easy and very of what I make it demands that the team thinks and acts outside of the normal parameters. If something me to excessively seem familiar , I soon uncover myself looking a different boarding.”

“I want that each taking pass for the bolter of my instincts. It produces some effect in me? It seems enough dangerous? It seems planned or artificial in excess? We can be faster”

“Everything needs to go slightly against our common-sense. Everything needs to be safe, but `does not have to seem' safe. We need to be capable `to see', but one will be easy excessively of if `to see', for me, seems assayed. I do not want that the public has a passive experience in the cinema. I am made use to everything to provoke them subversively to have an active participation.”

“Whenever somebody grasps the arm of the armchair of the cinema or if inclines for one of the sides to try to see something better, I feels victorious person. That person is not only plus a spectator in the auditorium; it is a participant.”

“It is a simply incredible experience to be part of a Bond film. After all, Bond is inigualável in its success and its longevity. It will never have another personage who obtains to continue being so excellent with as much success in a world that dumb so quickly.”

“EXPLOSIONS AND FIRE”

Chris Corbould – Supervisor de Efeitos Especiais

Chris Corbould is an icon of surmounting 007. “I started I eat trainee in 007 the Spy Who Loved me (The Spy Who Loved Me), to the 17 years, later that I fired me from the company where I worked and made my first work freelance in 007 - Against the Rocket of the Death (Moonraker). Work in the surmounting since then”

Corbould explains as it elaborates the logistic one of the organization of the effect special in a action film as 007 QUANTUM OF SOLACE: “As soon as I receive the script, I revise it and identify where the effect are all, and later I divide them between the first one and the second units. This film was particularly difficult because it had a moment where we had two units filming in Panama, another unit in daily pay-production in Chile, three separate units gives to film in Italy at the same time where we worked in six studios of filming in the Pinewood Studios, in the Joined Kingdom. Logistically, it must be one of the films more difficult than I already made in geography terms and to guarantee that the certain team is in the certain place with the certain equipment. I have a team of about 80 people in this film, but always I try to be the all present time, inside of the possible one, to follow to the maximum all the tests and the filmings, what he means that I have that to travel very.”

Corbould and its team costumam to start to work in a Bond film with a minimum of five months of antecedence before the beginning of the filmings, “Of this time, were different, because I was compromised to one another film, and alone I had two months of preparation, but my team already was working in it and keeping informed me of everything.”

During the daily pay-production, Corbould is part of the team that works in set to give life to the script in the screens, as Corbould explains. “People receive a script, but what you really finish filming she is well different. The scriptwriters make its work and there the work of the creation team enters, and it it can move radically in the months that precede the beginning of the filmings. I suggest ideas for the effect special and us we try to make things that never have been made previously. Many times, I need to take the team in a different direction, if I see that they want to make something that already was made before and we would finish for making a mere copy.”

This is the first time that Chris Corbould works with the director Marc Forster. “It was interesting to work with Marc. I find that one of the points most interesting is that Marc does not have much previous experience in action films. It is good for explaining everything for it, for giving to an idea and a bigger agreement to it of the process. Marc has a well defined notion of what it wants to see, but, at the same time, it is opened the new ideas. It is one legal face and I taste very of it.”

Corbould comments the envolvement of its department in the sequence of the persecution of motor boat filmed in Colón, in Panama: “We are in charge of some tricks, as the hidden pilots. Daniel carried through, personally, many of the maneuvers in the command of the motor boat, but in some occasions, for security guard questions, we need to use a professional pilot as dublê. We need to hide a pilot in a scene of action in particular where Daniel was to the command of the motor boat, because he would be risky excessively for it. We had motor boats flying on other motor boats and engines of poop blowing up. One of the boats cowling some times in full air, what in them it demanded a time until making right everything; we had a submerged thick handle that, when the motor boat reached a certain mark, caused a great one locks when he was extended and it pulled the advantage of the motor boat for low, making to turn it in full air - we install many mechanical equipment under of water and in the edges for this sequence in particular.”

To film the interior of airplane DC3, where Bond and Camille are pegos in a shoot out, the department of special effect needed to construct a hydraulical system that simulated the effect of the airplane losing the control. The structure was, then, filmed against deep a blue one in the tank of the Pinewood Studios. Corbould explains: “We try to create the illusion of that the DC3 was involved in an air combat. The system possuía horizontal and vertical movements and could turn on its proper axle - well it was amused to play with the hydraulical system, I I adore this type of thing. Of beginning, us we obtain a part of museum for the fuselage of the airplane, that we would go to mount inside of our system, however soon was evident that we would have to perforate it with some shots and to damage it of several other ways, then, we decide to construct everything of the zero, what it finished well better functioning.”

The production of 007 QUANTUM OF SOLACE it filmed all the scenes in the interior of the Perla De Las Dunes in the Pinewood Studios, and Chris and its team it had a cronograma heavy of explosions to be bred in the four final weeks of filming. “We had many explosions in several sets different. In the interior of Studio 007, it had five different sections, then, in quantitative terms, it had many explosions and fire.”

However, effect special do not summarize the explosions, as Chris explains. “Beyond explosions, we have the atmospheric conditions: wind, smoke, rain, fog, snow. It still has the electronic equipment: clocks that go off darts, gaitas of bellows with flame thrower, the adaptation of cars as the Jaguar and the Aston Martin in 007 a New Day To die (Die Another Day) - we them adaptamos as vehicles tractive in the four wheels for the persecution on the frozen lake - and hydraulical systems: of modest assemblies the hydraulical systems for houses of four floors that submerge”

“We know that it obtains, it is more than what capable”

Gary Powell - Coordinating of Scenes of Action

The producers had promised that 007 QUANTUM OF SOLACE more action of what will have two times 007 CASINO ROYALE (CASINO ROYALE) e, for Gary Powell, this means the double of the risky scenes. It comments on the work with the director Marc Forster: “The opening sequence is equivalent in action all the film 007 CASINO ROYALE. He was excellent to work with Marc, because it has a style of total different work. E everything gave certain because I want that the risky scenes are filmed for real and it wants that its film seems most realistic possible. It wanted to use Daniel to the maximum instead of appealing to one dublê. E later fits me to say if it functioned or if we can use one dublê in the place of it. It has certain things that we cannot allow that Daniel makes. ”

Daniel Craig always insisted on making the biggest possible number of its scenes of action and Powell always impresses itself with its capacity. “We already had worked with Daniel in 007 CASINO ROYALE, then, when we come back to work now with it, we knew what it was capable to make, what he very facilitated our process of training. We simply recommence of the point where we stop and we enter of head in the training. I do not import myself that Daniel makes its sequences of fight personally. It knows that he has a possibility to take one I beat in the face or to give one I beat in somebody. When we carry through scenes of action to this speed, always exists this risk. Daniel knows of the risks and is it who decides if he wants to carry through the scene - and 9 between 10 times, it exactly he makes!

“Daniel already had made many of its proper scenes of action in 007 CASINO ROYALE, but in this film, it it still makes a bigger number. It is seen inside of a building in flames, has fire balls blowing up behind it, balls of fire in the front of it, it falls on the fire, slides for the soil in flames, but we know that it obtains, it we are more than the one that capable.”

Powell, who coreografou all the fights of 007 QUANTUM OF SOLACE, it explains as the necessary action to be adequate to the personage, so that it is convincing and it contributes for the narrative process. “When we know Mathieu and we start to train with it, we knew that it would have a great sequence of fight with Bond in the end of the film and that it would be a fight until the death. Quickly, we perceive that it was not a fighter technician, it we were unskillful e, then, we adaptamos the fight to style of it e, later we incorporate the personage. E now, when fight, it obtains an advantage on Bond, because it does not fight better, and yes because it is a maniac. It attacks done Bond a ensandecido insane person, with kicks, socos, shouts, attacking it with a bar - it fights dirty.”

“The personage of Olga [Kurylenko] is an agent, then she passed for a military training and us we had to train it until she arrived at this level. She was difficult for it, but it reached the necessary quality. In certain way, it it was presenteada with the fight most difficult, therefore fight against general Medrano, who has the double of its size, if not more. Marc was distrustful perhaps of that she was not to give certain, but we submit it to a hard training and everything functioned. We in are proud them very of the progressos of it.”

The work with actors who had never submitted themselves to no training before involves much more physical force, explains Powell. “Beyond preparing the actors physically, we need to prepare them mentally. We know that to the end of its first month of training, if not well before this, they go to wake up one day without will of if raising of the bed, therefore we will be doloridos and exaustos. We need to also prepare them for this. When we train actors, all have its bad day. We need to teach them and to prepare them for this, therefore he happens with everybody. But, in general, they come back to train in better the following day, and two times.”

The team of action scenes needed to work in tune with all the too much units of the film, explains Powell: “When we create the action scenes, we work with the teams of figurinos, hair and maquiagem, effect special - all need to be involved and in constant communication since the preliminary phases. The department of figurinos can want to opt to an appearance that compromises my standards of security, for example, if we are working with fire. E I do not want the actress dressing clothes that are not appropriate for these circumstances. With the staff of the maquiagem, us we need to inform they if, after one it fights, Bond will finish with one cut in the supereyelash and a hematoma in left maxilar.”

“The dublês needs to have a general notion of the film and to work in order to eliminate to the maximum of the scene the danger and the risk. When Daniel crosses running a corridor with explosions and fire, I needs to argue with Chris [supervisor of special effect], where Daniel will be located when the detonations to occur. The necessary team of effect special to chronometer everything with precision and necessary Daniel to reach its marks correctly. If it to exceed its mark, can finish in the way of a fire ball . It has an enormous reliable dose and of arduous work of the part of all world.”

The favourite car of James Bond, the Aston Martin DBS, is of volva in 007 QUANTUM OF SOLACE. So that the cars if gave to the sequence of the automobile persecution in Italy, Powell needed to carry through some small alterations. “We have seven suitable Aston Martins the two different surfaces: for the road and the quarry, whose ground is covered of gravel. We strengthen the suspension, we force the angle of inclination of the wheels for it are and we use specific tires for each type of surface. We all remove the tractive system of control of the cars, so that, when to arrive the moment to give a great hobby horse, the car in allows them to carry through the maneuver. In this way, he is dublê that it controls the car, and not it car that controls dublê. In the Aston, us we install a hydraulical brake of hand, so that dublê can use it to turn the car when folding the esquinas. The hand brake is installed between the driver and the door for an easy access without she is necessary to deviate the look for low.”

For the scene of the jump of Bond and Camille of the DC3, Powell it opted to filming sequences of Daniel Craig and Olga Kurylenko in a training center, Bodyflight call. `Voar' in the vertical tunnel of wind simulates the experience of a free fall, as Powell explains: “When we start to plan the scene, the initial idea age to use a parachutist in free fall and will insert images of the face of Daniel and Olga through visual effect. I preferred to use the Bodyflight in the place to hang the actors in handles and to use wind machines, then, we were until and film some tests there. Marc attended the videos and liked in such a way, that the sequence of for-quedismo there decided to make all . We film Daniel and Olga during one day entire and we were really excellent, because they are they themselves that are falling. Nós não conseguiríamos os movimentos que eles fizeram se usássemos cabos, então, ficamos muito satisfeitos com o resultado.”

Another monumental sequence of action in 007 QUANTUM OF SOLACE it is the persecution of motor boat, filmed in Colón, Panama. “The sequence of the persecution of motor boat was modified on of the hour and I and Simon managing Crane [of additional unit] entirely bolamos a new sequence, that was assayed quickly. Originally, it would be a relatively small scene. But when arriving there, we decide to become it most spectacular possible with that of whom we made use, and we were what we made. We film the persecution of an extremity to the other of the Canal of Panama, finishing in an island for the great end. To work in the Canal of Panama was difficult because it is not a lake. The waters are turbulent, with hundreds of boats of more than 300m crossing our way and the dumb tide the time all. You try to make necessary curves, but she finishes yielding to the force of the tide and can finish more than exceeding its mark in 3 or 4 meters. Technique was a sequence well e with a complicated filming.”

Gary Powell says concerning the work with ` the Bond family': “I have had the luck to work in great productions, with some of the best producers, but Bond one is taken over on a contract basis familiar one. When we are in set, we are not only plus a member of a team technique, us we are part of the family. The father of Barbara [Broccoli] was who started everything with 007 Against the Satanic Dr. In (Dr In), and it and Michael [Wilson] are giving continuity to the work of it. As producing, its work is to inside keep the film of the budget, but they trust its team and make the possible one all stop in giving everything to them of that we need to make optimum that we will be able for the film.”

007 QUANTUM OF SOLACE - CURIOSIDADES

· In the college, the tracer of production of 007 QUANTUM OF SOLACE, Dennis Gassner, was one talentosíssimo to linebacker THERE of American soccer and it arrived to be invited to try to obtain a vacant in the team of the Rams! However, it refused offers to give continuity to its studies in industrial drawing and today she is a production tracer awardee with Oscar®.

· When Bond and Camille fall in free fall of an airplane DC3, the action scene was carried through by Daniel Craig and Olga Kurylenko in the vertical tunnel of wind of the Bodyflight. `Voar' in the wind tunnel is what more it is come close to a jump in fall it exempts the 3,000 meters of altitude without if it needs, in fact, to jump of an airplane.

· To film the persecution to take off the breath on the roofs of the city of Siena, the production team had to remove the roofing tiles of the houses and to strengthen the roofs so that the feet of the actors did not break the roofing tiles of the constructions during the scene.

· More than 200,000 bullets of festim had been bought for the tests the training and the filmings of 007 QUANTUM OF SOLACE.

· The coordinator of scenes of action, Gary Powell, descends of a dublês dynasty. Added, integrant of the family the Powell the films of James Bond had worked in all since 007 Against the Satanic Dr. In (Dr In), in 1962. Its father, Nosher Powell, and its uncle, Dinny, had worked in all the films of Connery and Lazenby, its brother, Greg, worked in all the films of Moore and Dalton, and Gary worked in all the covered with star films of Bond for Brosnan and Craig until today.

· 007 QUANTUM OF SOLACE it was filmed in more locations of what all the too much previous films of Bond agent: in 6 different countries, including the United kingdom, Panama, Chile, Mexico, Italy and Austria.

· Submitted to the heat and the humidity of the locations in Colón, the team technique of the film more than drank 1,000 water bottles per day.

· Throughout a period of only 12 days, the team of special effect of 007 QUANTUM OF SOLACE it detonated 54 controlled explosions while it twirled the climatic scene of the film in famous Studio 007.

[MkB]

Wow! Thanks Nicolas! Great find.

Spoiler

Thouh, I'm not sure the line "You have only one chance, so take a deep breath and enjoy it well" (or something in the like) is the answer from Bond to Mr White. To me, it looks like the three quotations on this page are independent.

[Rafael '00_Agent' Fernandes]

Could you translate this for us Marketto or Rafael 00 Agent? Thanks. Seems very intresting.

According to this, When Mr White says "The first thing you have to know about us is we have people everywhere", Bond awnsers...

Spoiler

“Você só tem uma chance. Respire fundo e a aproveite bem.”

Which means (I think):

"You have only one chance. So breath deep and take the advantage"

That´s right, it means exactly like that

[Pierce - Daniel]

It appears that Bond goes to visit Mathis at his home in order to convince him to come to Boliva with him.
Why? Bond and him didn't end on good terms.....this is odd. I hope Mathis is not under used like Leiter in CR. I'd rather his character was explored more then Leiter, there was more of a dynamic between Mathis and Bond in CR. I hope Giancarlo gets a good send off.

This film is getting very interested. Very interesting film, Correct me here if I'm wrong....But from the translation machine it appears Mi6 is investigating Greene and won't tell Bond hense why he goes renegade and they need to capture him. It's only Felix who gives him info on Medrano and Greene's deal as the CIA are even corrupt. Wrong?

[DamnCoffee]

Here is an English Translation:
http://debrief.comma...mp;#entry904501

[Nicolas Suszczyk]

"Restrict Marketto's movements. Put a stop on his passports. Find Marketto"

[Nicolas Suszczyk]

Could someone check this in www.007.com? I can't enter because I can't update the Flash.

[Harmsway]

The translation is imperfect, but I got the jist of most of it. And it all sounds very, very good.

[Qwerty]

[Moderator's Note: Topics merged]

[Matt_13]

54 Controlled Explosions!? Jesus...should be cool if it doesn't look goofy!

[Marketto007]

"Restrict Marketto's movements. Put a stop on his passports. Find Marketto"

Wow wait...I'm here. Actually I'm really "out of this world" latelly, due some Personal issues. But, I'll keep myself informed...

Thanks anyway Nicolas. I'll read it the entire thing right away.



BTW, where did you find this Nicolas?

xxx

Edited by Marketto007, 18 August 2008 - 07:45 PM.

[Pierce - Daniel]

I get the impression Greene is going to be a very interesting character

-The fact he's actually shy and reserved is very different.
-He hates blood
-It's made very interesting by the reference that at the end of the film he totally losses his mind and flips out of control.



But.............SPOILER.......................
The article suggusts that Bond lets Greene live.....

[Mr. Blofeld]

I get the impression Greene is going to be a very interesting character

-The fact he's actually shy and reserved is very different.
-He hates blood
-It's made very interesting by the reference that at the end of the film he totally losses his mind and flips out of control.



But.............SPOILER.......................
The article suggusts that Bond lets Greene live.....

Wait; wait, what?

[Royal Dalton]

But.............SPOILER.......................
The article suggusts that Bond lets Greene live.....

Spoiler

Or, leaves him for dead.

[Mr. Blofeld]

But.............SPOILER.......................
The article suggusts that Bond lets Greene live.....

Spoiler

Or, leaves him for dead.

Spoiler

What happened to the axe?

[blueman]

Can't ever remember a Bond director talking about the character as Forster does. Very hopeful about this film.

[DamnCoffee]

-It's made very interesting by the reference that at the end of the film he totally losses his mind and flips out of control.

Cool. This will be very interesting to see.

[Nicolas Suszczyk]

http://www.sonypictu...press_FINAL.doc

[Vauxhall]

Man, I hope the English version turns up soon. It would save me a lot of translating.

[Qwerty]

[Moderator's Note: Topics merged]

[DamnCoffee]

Does anyone else think that Bonds line
"You have only one chance. So breath deep and take the advantage" has a The Man with the Golden Gun vibe to it, it reminds me off the line "I am now aiming precisely at your groin; So speak now or forever hold your piece!"

[Nicolas Suszczyk]

Yeah.

[Vauxhall]

Does anyone else think that Bonds line
"You have only one chance. So breath deep and take the advantage" has a The Man with the Golden Gun vibe to it, it reminds me off the line "I am now aiming precisely at your groin; So speak now or forever hold your piece!"

It sounds like a line from Lose Yourself by Eminem...

[Agent Spriggan Ominae]

But.............SPOILER.......................
The article suggusts that Bond lets Greene live.....

Spoiler

Or, leaves him for dead.

Spoiler

What happened to the axe?

Spoiler

It winds up in Greene's leg. Don't think he's gonna be going anywhere fast. 120 degree heat and no water. Better than a microwave. Greene's gonna wish that Bond killed him. This is very "High Time to Kill". Haggis even had the original ending taking place in a snowy enviorment and it was Foster who made the change to the desert.

[JackWade]

Is this going to be released in English anytime soon? Reading broken English/Babelfish translations drives me cazy.

[Vauxhall]

Is this going to be released in English anytime soon? Reading broken English/Babelfish translations drives me cazy.

Apparently there is an English version somewhere online, but I can't find the actual download link from the official site.

[Marketto007]

Well guys, I was trying, but is going to be very difficult to translate line by line this entire file, because are endless pages on it.

xxx