回复图片：Sean Connery (James Bond) and Ursula Andress on the set of DR. NO (1962). “An awful lot of the funny bits in DR. NO were knocked up on set. I suppose I did half, and Sean did at least half himself,” says Director Terence Young.
回复图片：Shooting the QUANTUM OF SOLACE opening chase sequence in the Carrara marble quarries in Italy. Second Unit Director Dan Bradley says: "One of the big challenges of this chase was that we were on these narrow two-lane roads.
回复图片：It*s very hard to shoot a chase with just two lanes available as the action cars take up both of these, making it hard for the camera cars to get the best shots."
回复图片：On location at Millbrook Proving Ground, a vehicle testing centre in the UK,the CASINO ROYALE(2006)crew check over the smashed-up Aston Martin DBS.The car wasn*t scheduled for launch until2007,so Aston*s prototype workshop hand-built five cars for use in close-ups and stunt work.
回复图片：Director John Glen directs Timothy Dalton (James Bond) and Talisa Soto (Lupe Lamora) on the set of LICENCE TO KILL (1989). During Talisa’s screen test, it was Robert Davi (Sanchez) who played Bond. “He wasn’t bad!” says John Glen.
回复图片：ON HER MAJESTY’S SECRET SERVICE’s George Lazenby (James Bond) surrounded by the girls of Blofeld's 'Angels of Death' on the Piz Gloria set in Switzerland.
回复图片：LIVE AND LET DIE (1973) Director Guy Hamilton briefs Roger Moore (James Bond) and Gloria Hendry (Rosie Carver) on the picnic scene at Ocho Rios, Jamaica. “Roger liked to do one or two takes, but I found that I needed more takes. I was that kind of person,” says Gloria Hendry.
回复图片：Producer Cubby Broccoli and Roger Moore (James Bond) play a game of backgammon while on location in Kalambaka, Greece filming FOR YOUR EYES ONLY (1981). The pair played for high stakes throughout the shoot, but somehow came out almost even by the last day.
回复图片：Drax’s space station set for MOONRAKER (1979). “I let my imagination go on the space station and came up with something based on a mobile, like a sculpture. Because we had artificial gravity it had to rotate,” says Production Designer Ken Adam.
