Writing Casino Royale’s Theme Song

The composer who scored five Bond films on writing the theme song and score for Daniel Craig’s first outing as 007.

I got the script for Casino Royale before anyone was cast as James Bond, so for the first time reading it, I was seeing the character without envisaging a face. It was just my own imagination, which was fascinating as that hadn’t happened before, maybe on Dr. No before they cast Sean, but for me I was seeing a Bond script which is in production, without the face of the actor playing James Bond in my mind. Then the casting process began. Director Martin Campbell did four screen tests: I think they did two or three scenes – a talking one, an action-y one and a romantic scene – and I got sent the footage to put music to them. Daniel had this sort of cold brutal streak but also a Connery panther-esque way about him. He just was James Bond. So then we knew it was going to be Daniel, but it raised the question: where do you start with the score? We can’t have the Bond theme because he’s not James Bond yet. That was a big thing to remove the James Bond theme from the James Bond film, but I thought, ‘How about we sort of sow the seeds of it as we go through’ so whenever he does something which we know becomes an iconic thing for 007 to do, like the first time he rides in the Aston Martin DB5, first time he flies to an exotic location, the first time he puts on a tuxedo, we drop little bits of the Bond theme like he’s earning it.

Once that was established we needed to turn to the title song. Even if I don’t know who’s going to be singing it, or if I’m going to be writing it, I like to do my take on it. I started thinking about the character, that he’s this blunt instrument and not very sophisticated. He makes rookie mistakes, he’s learning all the time but we also see him doing things that maybe Bond shouldn’t do, like being too careless and risky. I thought ‘Well, what voice is that?’. Who’s our contemporary, powerful, alpha male singer? We were spoilt for choice with gentle, poetic singer-songwriter types, but in terms of someone who could be brutal and hard and yet also be able to turn on a sixpence and be open, emotional and honest? Chris Cornell was suggested to me which was such a left field call but then when you start listening to Chris Cornell it’s obvious. He is the sound of James Bond running through the wall at the beginning of the film but he’s also the guy who’s cleaning the blood from Vesper’s fingers in the shower. It was a no brainer. Chris and I both flew out to Prague where they were filming and we sat on the set watching some scenes in the editing room and we saw them shooting the casino scenes. We actually had a game of cards in the corridor with Mads Mikkelsen while they were setting up the next shot. And we talked about all these things that I wanted for the song. I had the title ‘You Know My Name’ in my head. And I got that from when he says his iconic line, ‘The name’s Bond. James Bond.’ There’s a formality to that which I really like but I also enjoyed the way that Daniel’s Bond in this film is arrogant and he’s angry and I wanted the song to be a warning from Bond – I don’t think there had been a Bond song from Bond’s perspective before. 007 could be singing this and it’s a warning to his enemies to get out of his way. I love the energy of that. We spent the next week just knocking ideas about. I went to Chris’s apartment and I’d play him what I’d written and he’d play me what he’d written. And the two things just sat next to each other perfectly like they were the same song. We had kind of written half of the same song independently of each other and they slotted together. He had a rough draft of the lyrics which I loved and we just tweaked them over the next day. Then I went back and demoed the song as it was and sent it off to the producers and we got the thumbs up. This theme song and score was important because of the change of character, it had to be the start of something completely different and I think we did that.

 

 

The Valentine’s James Bond Quiz

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The History Of Corgi And 007

“The DB5 is part of my boyhood, and it’s part of my generations’ boyhood. I had the toy with the ejector seat and lost the little man that flew out and spent the rest of my childhood looking for him behind various sofas,” said Skyfall and Spectre director Sam Mendes about his Corgi Aston Martin. And he wasn’t alone. The diecast toy Aston Martin DB5, first released in 1964 for Thunderball, was an instant hit, earning the title UK Toy of the Year. It sold 3.9 million by 1968 and a partnership between model maker Corgi and the Bond films was born.

The Corgi brand, named after the Welsh dog, was introduced by the Mettoy Company in 1956. The first launch of toy saloon cars included the Ford Consul and Austin Cambridge, but it was James Bond’s DB5, with its ejector seat and front-mounted machine guns, that put Corgi on the map. The original 1964 release was in gold rather than the iconic silver birch, a decision made after Corgi felt the early prototypes looked unpainted. The collaboration has continued for every Bond film since, with Corgi replicating iconic vehicles including Moonraker’s Space Shuttle, For Your Eyes Only‘s Citroen 2CV, and The Spy Who Loved Me’s Lotus Esprit. These highly sought-after collectibles are being played with, or stored carefully in their original boxes, by children and collectors around the world.

No Time To Die will be no exception, with Corgi launching die-cast models of the Aston Martin V8, the Triumph Scrambler 1200 Bond rides through the streets of Matera, and of course the Aston Martin DB5, updated with its Italian number plate and extensive bullet damage. Collectors will be pleased to hear that Corgi are also releasing a 2021 edition of the golden ejector seat DB5, alongside a few other favourites from the back catalogue.

Discover the range now at 007Store.

Throwback X 007 Collaboration

Introducing an exclusive 007 collaboration with Italian streetwear label Throwback.

The six-piece capsule collection pays tribute to iconic moments from James Bond’s on-screen legacy. Italian digital artist Gianpiero has reimagined classic images from the 007 archive for the range of t-shirts and hoodies.

Founded in Naples by Pavi D’Avino, Throwback celebrates classic moments and memories from popular culture. The new Bond collaboration includes unique behind-the-scenes stills from Dr. No (1962) and Moonraker (1979), as well as images from GoldenEye (1995) and Tomorrow Never Dies (1997). On the back of each piece are production anecdotes, giving further insight into the 007 universe.

The six Throwback x 007 designs are available now. A second range of four new pieces will be released later in the year exclusively with Selfridges and 007Store.com.

Discover select pieces from the Throwback x 007 collection now at 007Store. ​

Rémy Julienne (1930-2021)

Rémy Julienne has passed away at the age of 90. Producers Michael G. Wilson and Barbara Broccoli said: “Rémy has been a legendary force in the action sequences of so many films. We were lucky to have worked with him on six films: For Your Eyes Only, Octopussy, A View To A Kill, The Living Daylights, Licence To Kill and GoldenEye. His artistry and innovation changed the way car sequences were designed and captured. He was a charming, dedicated and loyal member of the crew who was both respected and loved by all who worked with him. Rémy built a great team of remarkable stunt performers including his sons, Dominique and Michel who carry on their father’s profession. Our love and sympathy goes out to his family and friends. Rémy will be sorely missed by everyone at Eon.”

How To Train Like James Bond

47-year-old professional trainer Simon Waterson started working with the Bond franchise back in 1999 as Pierce Brosnan’s trainer on The World Is Not Enough (1999) before helping Daniel Craig get into shape for the role of 007 in Casino Royale (2006). Since then he’s worked with him on Quantum Of Solace (2008), Skyfall (2012), Spectre (2015) and most recently No Time To Die (2020). Waterson joined the Royal Naval Commandos when he was 16, serving as a member of the 845 Naval Air Squadron – an elite special forces unit – for seven years before taking on a very different Naval Commander…

When did you first meet Daniel Craig?
It was before Casino Royale started filming. I flew to Washington to meet Daniel who was working on a different film. I knocked on his trailer door and he answered holding a bacon sandwich and smoking a cigarette and he was like, ‘Oh no’ and I said ‘Oh yes, the process is starting my friend’. We came up with a plan of what aesthetic look we wanted for him – his body shape and the way Bond moves – all the things that go along with the character. Daniel is very meticulous and he knew the way he wanted to portray Bond and how he wanted to evolve the character. He wasn’t looking at it as one movie, he was already looking beyond that and how the character would evolve over a series of films.

How do you prepare Daniel for filming?
I normally get the script and spend some time breaking down the different elements especially if they are athletic – sprinting, going through walls – like you see in Casino Royale’s opening sequence, just so I know the movement and speed they are going to require. Then I’ll work on those elements with Daniel. He always says to me that his physique needs to represent the nature of his job, so that he looks capable and he keeps himself in top trim. Then he has the speed, the reaction, the strength and the agility. He shouldn’t look like a body builder, he’s a product of the nature of his job. His athleticism has developed so he is that efficient at the job.

Is he up for training or do you need to give him a push?
The start is always the hardest. The first few months are tough but then when you start to see the fruits of your labour it becomes a lot easier and it becomes more about tweaking and maintaining and having specific movements to represent what’s in the script. For example, if he needs to jump over a balustrade then we practice that stunt so that it gets easier and easier. The fitter you get the easier it gets. When we go into production we go into a maintenance phase. Like any athlete there’s a pre-season which in the film world is pre-production and then you have the season which in our world is filming and then, like any athlete, there will be a post-season which is post-production.

What makes up his routine – presumably a combination of weights and cardio?
It’s a combination of all those things. The key word is relevance. I don’t want to waste time on doing things that aren’t relevant. If there are huge sprint scenes in the film there’s no point Daniel sitting on a bike. Everything is about relevance to the movie.

When filming No Time To Die Daniel injured his ankle, how did you deal with that?
You never want an injury to happen and it’s a setback but it’s manageable and you work around it. In the world of action movies there are always going to be a few niggles, you are working extremely hard and you don’t get an afternoon off, it’s six days a week, six in the morning till ten at night. It’s inevitable that you are going to get some knocks, but it’s how you react to that. If you catastrophise the situation then you’re going to go into a bad place. Mentally you need to keep yourself in a good place. With injuries it’s all about looking at the long term health, so you do the right exercises and the right rehabilitation to get it fixed properly.

How important is diet?
The nutrition side of things is the key. I like to have a good eye across that. I use a lot of anti-inflammatory protocols. The nutrition is tailored towards the script and schedule. For high octane, athletic days, where there’s lots of stunts and running around then the calories and the macros (macronutrients) are different to a sedentary dialogue day. There’s no crazy diets, nothing is eliminated. We’re looking for maximum amount of energy, good hydration and a constant flow of eating throughout the day. During shooting Daniel has six meals a day.

What’s a typical day on set like?
It depends on the day of course, no one day is like another. But he comes in early and if it’s an action day we have half an hour of activation, we’re preparing the body to work at a high level for the day. We will do a mixture of dynamic exercise with a stretch routine to make sure the body is warmed up. Then he will go back to the trailer and get ready for filming while I go off and make sure breakfast is ready. We’ll use lots of things like turmeric root juice which is a natural anti-inflammatory along with probiotic shots. Then it’s really being on-hand for his snacks and meals and then in the evening we’ll do a bigger workout back in the gym and work on some conditioning. But saying that, we’ll judge it on the day. If it looks like he just needs to eat and sleep then we’ll do that rather than training.

How does working on set and on location differ?
Going on location is great from a fitness point of view. Working in Matera on No Time To Die was exhausting just because getting to the gym there were so many stairs to climb. If you go to a hot climate it’s easier to go swimming or paddle boarding so you can diversify and make it a bit more interesting. Fitness doesn’t have to be prescribed, it should feel like a hobby. You need to have escapism, it’s not work, it’s leisure time, so we just put some music on and enjoy it.

Casino Royale’s Runway Chase

Bond (Daniel Craig) pursues bomber Carlos (Claudio Santamaria) through Miami airport in Casino Royale (2006). Part of the chase was filmed at Prague airport and the rest at Dunsfold Aerodome, Cranleigh in the UK.

Michael Apted (1941-2021)

“It is with very heavy hearts that we share the 德邦快遞香港 of the passing of Michael Apted. He was a director of enormous talent and range and unique in his ability to move effortlessly and successfully between all genres. He was beloved by all those who worked with him. We loved working with him on The World Is Not Enough and send our love and support to his family, friends and colleagues,” Michael G. Wilson and Barbara Broccoli. 

Tanya Roberts (1955-2021)

Tanya Roberts, who played Stacey Sutton in A View To A Kill, has died suddenly at the age of 65. Producers Michael G. Wilson and Barbara Broccoli said: “We are saddened to hear of the passing of Tanya. She was a very lovely person and shall always be remembered by Bond fans as Stacey Sutton in A View To A Kill. Our heart goes out to her family and friends.”

Roger Deakins awarded knighthood

Skyfall cinematographer Roger Deakins has been awarded a knighthood in the New Years Honours List 2021. Producers Michael G. Wilson and Barbara Broccoli said: “Roger is truly a great visionary of our time. His cinematography always brings depth and humanity to the screen. His uncompromising commitment to the work is unparalleled, he is a wonderful collaborator. We feel incredibly privileged that he created the stunning visual identity of Skyfall. Many, many congratulations to a great master.

The Ultimate James Bond Quiz

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