­Forty - six days since Ja­mes Bond first battled baddi­es in " Dr. No , " Ian Fleming ’s martini drinking , Aston Martin - drive Britishsuperspyis back in his 22nd instalment of the movie enfranchisement , the second with Daniel Craig as 007 fall out his $ 594 million worldwide box berth debut in 2006 ’s " Casino Royale . "

Picking up where that movie go away off , " Quantum of Solace " happen our champion mourning his dead devotee Vesper Lynd and battle an outside conspiracy , Quantum , bent on contain the world ’s born resources . In addition to Bond ’s party boss M ( Judi Dench ) , several " Casino " players are back : Giancarlo Giannini ’s Mathis , Jeffrey Wright ’s Felix Leiter , and Jesper Christensen ’s villainous Mr. White . They ’re joined by malefic cohort Dominic Greene ( Mathieu Amalric ) and Olga Kurylenko as a woman with a grudge to subside .

­Shot over six calendar month in six country , " Qua­ntum of Solace " is the first prominent blockbuster aim by Marc Forster , herald for " The Kite Runner , " " Monsters Ball " and " Finding Nev­erland . " Paul Haggis ( " clangoring , " " Million Dollar Baby " ) , who did a polish on Neil Purvis and Robert Wade ’s script , declined to maneuver , and so did Forster until producers / enfranchisement proprietor Barbara Broccoli and her brother Michael G. Wilson convinced him he ’d have creative autonomy .

Nevertheless , daunted by the pressures and media examination that come with the Bond series and the gamy bar correct by " Casino Royale , " Forster approached the undertaking the only way he knew how : six months of thorough , detailed provision . " I ’m very Swiss in that regard . I make my film in pre - output . Once I set about shooting , it ’s just execution , " he says . That provision helped keep the photographic film on its 103 - mean solar day schedule and within its reported $ 230 million budget despite lost clock time due to logistics andweather .

As you might require with a stunt - heavy flick , " Quantum " was beset by several bad luck and injuries . A stuntman was hurt in a foreland - on crash during the open road pursual in Italy , an Aston Martin automobile mechanic skid off the route into a lake while driving one of the railway car to a location and Craig suffered injuries to his digit , look ( eight stitches under his right oculus , from a stuntman ’s kick ) and correct shoulder , which required OR and physiotherapy .

Craig did almost 90 percent of the stunts himself , accord to stunt coordinator Gary Powell , and it read . cavort a sling during the movie ’s press tour , " I ’ll probably [ be ] set byChristmas , but I wo n’t be capable to put any pressure on it like hang from a train or anything unintelligent , " predicted the histrion .

­In the following secti­ons , members of the originative team describe how they came up with the military action set pieces and stunts , visual effects and overall look of the movie .

Style & Location of “Quantum of Solace”

Director Forster , output designer Dennis Gassner and director of picture taking Roberto Schaefer , who has collaborated with Forster on every one of his movies , had a specific look in judgement for " Quantum of Solace . " " We did n’t want it to look like ' Casino Royale , ' but we did n’t require it to stray completely from it because it ’s a sequel . We in spades did n’t want it to attend like the Bond movie of the last 20 age . We were essay to hark back to the ' 60s – retro - with - innovative , " tell Schaefer .

Shooting on position in Chile ( playing Bolivia and Haiti ) , Panama , Mexico , Italy and Austria in accession to soundstages at Pinewood outside London give the movie its international tang but multiplied the logistic challenges . Moving a company of 300 plus equipment around involve a pot of juggle , especially in locations like the small apartment in Colon , Panama , where Bond fights and kills an enemy . In buildings such as that and the hotel where movable roof and walls were n’t possible , " I had to have practicallightingthat would work , " says Schaefer .

­For the conniption set in Bregenz , Austria , at a production of the opera house " Tosca , " Schaefer worked with the play ’s firing designer to change and augment existing setting on the dimmer board , adding and rebalancing lights so they would work on photographic film . But in the opera house interior , " We had to change all of the fluorescent Christ Within . "

While 2d unit director Dan Bradley shoot the aery dogfight between a 1939 DC3 piloted by 007 , an armed Marchetti and a Huey eggbeater over 17 days in Baja , Mexico ( augmented by cockpit interiors lensed on a blue screen stage at Pinewood ) , the parachute start at the close of the episode was done at a wind burrow facility outside London promise Bodyflight . Footage of Craig and Kurylenko in simulate freefall , captured by an regalia of 16 cameras , was immix with separately shot plates of the sky .

Many other sequences were hybrids as well . scene of the famed Palio knight race in Siena , Italy , were buck on location the previous summer and flux with a human foot Salmon Portland Chase that takes Bond throughsewersand over rooftop . Much of it was done at Pinewood , where Craig practiced jumping from build to building so that he could repeat it on positioning in Italy . " They had to reward some of the rooftops and hang balconies on existing buildings , " notes Schaefer . Craig was tethered to safety gadget wires , which were take away after by Visual Effects .

Forster ’s desire to include all four elements – solid ground , sky , ardour , andwater– made for exciting visuals but multiply the difficultness ingredient . The climactic struggle prepare in the Bolivian desert was also shot partly at Pinewood ( interiors and explosions ) and part at the Chilean observatory ESO Paranal , and the gravy holder chase was done in Colon , Panama , over 10 days . " Theweatherchanges constantly in the Caribbean so it was impossible to get anything to equal , " note Schaefer . It was one of many example where VFX had to do sky replacement on shots .

­Visual burden supervisor Kevin Tod Haug and his team – more or less 15 in - house plus five British vendors — had worked with Forster before but never with the sort of shell or volume as on " Quantum , " as he detail in the postdate discussion section .

“Quantum” Effects

" much everything has a visual effects component , but there may be only 10 that you could call pure visual upshot shots , " offering an example necessitated by slant and law of proximity : " There are half a dozenairplaneshots that do n’t have any real airplane or background signal in them . "

­For Haug , put to death the skydiving portion of the aerial sequence , blending the Bodyflight wind tunnel footage with home base of the sky was the prominent challenge on the picture show . " The problem with shooting in a wind burrow is you could get close - ups out of it but thelightingis very difficult to control and you ca n’t get medium or wide shots . We terminate up with 16 cameras in an regalia , which gave us a virtual television camera that ’s capable to be any length and distance away , like we were shooting air to air . We call it Event Capture , " he explains . CG also altered the lighting and augment real fire footage in the burst in that and other sequences .

Sky matching was the major issue in the Panama body of water pursual . " Some days the weather changed every few hours . We made it look like it was all the same twenty-four hour period , " says Haug . Crane and safety conducting wire remotion were his boastful task in the Siena rooftop sequence , and in the " Tosca " scenery , make 1,000 black tie - garb duplicate depend like 7,000 . " We shot them in minuscule groups and populate the whole place with those people , " in post - production . " The big crew - cloning was in Siena , " he notes . " We could n’t shoot when the slipstream was actually live on , so we shot loads of plate and populated it with footage shot beforehand . "

In the opening car chase sequence , " The main visual essence factor is whenever you see Daniel he ’s on microscope stage at Pinewood . He never live to those locations or labor those cars , " Haug reveals . " When you’re able to see inside the auto , we replaced the stunt number one wood ’s head with Daniel ’s brain . When you ’re inside the car with Daniel , the exterior is based on a plate we shot in Italy . Thecarsbashing into each other – that was dissipate on a big blue blind set . "

The incendiary final competitiveness sequence was a blend of footage nip on several stages at Pinewood and exterior plates from the desert localisation in Chile , a two - minute daily trek from production ’s al-Qaida camp on the sea-coast . " It ’s a full - ordered series blowup on a full - scale set that was four stories tall but only about a hundred groundwork recollective , " Haug line . " We mostly used real­fireelements and did a few thing to raise that , moving them around and multiplying them . When we got very snug to the actors , we added a destiny of heating distortion and steam , come off clothes . They were always very close to the fire , but not enough to hurt them . We just work the flak in that extra couple of foot . "

­A VFX team at MK12 , which worked on " Quantum ’s " rubric episode , create the Internet - enabled computer mesa and wall seen at British Intelligence ’s HQ . On set , " It was a white brightness level table with fluorescent tubes in it . They had piece of acetate with dots on them that they could slide on the table . And the paries had Xs on it for the actors to look at , " Haug outlines . " It was all added later . "

Fights, Flights & Chases

The movie ’s nonstop activeness meant more employment for stunt coordinator Gary Powell , whose most ambitious task was the fight set in an art gallery , where Bond and an resister " crash through the bonce and into the scaffolding and battle from the rope . It was a small set , only about 40 substructure high , and it was really challenging to make it credible , " says Powell , who spent workweek choreographing his first rendering of the fight , then scrap it . He worked with Chris Corbould ’s particular effects team to ensure that the picture gallery window were made of breakaway glass and the structures inside were devoid of sharp edge and constructed of soft aluminum , to fall the impingement when eubstance score them .

The Panama boat Salmon Portland Chase was complex for different reasons . " You ca n’t forebode what thewateris going to be like , and with 100 of boats going through the canal a mass of the time we did have quite a swell , " notes Powell . " Daniel had to drive the boat and behave and keep his centre out for the other sauceboat . He did most of it , but you ’ve get boats smash through things and material flying all over the place and it ’s extremely grave . "

­Similarly , Craig did as many of the scenes involvingfireas it was good to do . Of course , " The costume had to be fire - guarded . We had to check that he did n’t go up like a match , " remark Powell . But as experienced and eager as Craig is about stunt work , his Centennial State - headliner were less so .

Mathieu Amalric , the villainous Dominic Greene , " does not come from an action background , and rather than stress to make him something he was n’t , we used his instinctive gangly - cape , which made the battle work out really well , " says Powell , who also marvel at action tyro Olga Kurylenko ’s transformation into an action babe , thanks to intensive training that set about months before shooting start up and continued after .

" She was constantly training , really put the hours in , " praises Powell , figuring that at the wind tunnel alone , she and Craig " probably did the equivalent of 400 to 500 parachute jumps . "

For Kurylenko , " not a big fan of heights , " the skydiving simulation was hard to surmount . " It ’s severe to get word because it ’s so precise . And your whole eubstance hurts later on . But it ’s so addictive , " she discovered . " They could n’t get me out of there ! "

While Powell ’s stuntwoman lady friend double Kurylenko , the actress , like Craig , did as many of her own strong-arm scenes as she could do safely , but she also suffered her ploughshare of minor injuries . In the terminal combat , " I sire bruises and cuts . I devolve on the rug and I ’m wear down a army tank top so I did n’t have protection . The carpet just burned my skin off , " she recalls .

For " Quantum ’s " openingcarchase sequence , Aston Martin supplied seven DBS framework fomite , which had theirsuspensionsandtiresmodified for unlike surface , with a hand pasture brake add so that the stunt driver could repulse around corners more easily.­

­As expected , " Not one of them break down back in one piece , " notes Powell . " Because you sometimes tally a wall when you ’re not supposed to , we had to have several on standby . Also , while a couple of cars are on hardening , another is being prepped for use by and by on . Sometimes we ’re filming inside the car and other metre outside the car . " A tv camera fomite equip with an Ultimate Arm saddle horse captured the action .

What’s Next

­It ’s pretty much guaranteed that there will be a 23rd James Bond movie , but where it will take 007 is still very much opened to interrogate . Marc Forster excised a scene from the end of the plastic film that would have made it more of a cliffhanger . " If I had kept the scene , the producer would n’t have had a pick but to make it a trilogy . Now they can start new , " say the director , who believes " the flick felt complete with Bond find his quantum of solacement . " Nevertheless , the producers say they might impart back Quantum as Bond ’s nemesis . ( The delete scenery will be on the DVD . )

­Forster was offered the directing job on No . 23 , but would choose to change over genres for his next travail . " When you ’re doing these movies you do n’t have a liveliness . You ’re working a year , 24/7 , around the clock . I do n’t needs want to do that again . I ’m always looking for a love story , but I have n’t found one yet , " he says .

Roberto Schafer , now wrapping work on a low - budget dark comedy called " Leaves of Grass , " would love to do another 007 flick , and so would Gary Powell , currently in Boston shooting

" boundary of Darkness , " a Mel Gibson vehicle calculate by Martin Campbell , " Casino Royale ’s " director .

" There ’s something special about a James Bond pic . It ’s phantasy ; girls need to assemble James Bond and guys require to be him . It ’s two hour of escape , and especially now when the economy is not so skilful , hoi polloi require to forget about that , " he says .

Daniel Craig , who is contracted for two more turns as Bond , is enjoying stepping into the role originated so iconically by Sean Connery . " It ’s a rush . I pinch myself , authentically , " he says . " It ’s a really good job . " He ’ll be discover next as a Judaic partisan in the World War II drama " rebelliousness , " opening Dec. 31 in New York and Los Angeles and countrywide Jan. 16 . Co - sensation Kurylenko late wrapped a role in the Israeli dramatic play " Kirot . " " There are some legal action bit involved , " she says , adding with some reliever , " But it ’s not an action picture show . “­

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Sources

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