On this page:  Fun Facts About Bond; making Quantum of Solace, the screenwriters

"QUANTUM OF SOLACE - FUN FACTS
· At college QUANTUM OF SOLACE production designer, Dennis Gassner was a highly talented linebacker and was offered to try-out for the LA Rams!  However, he refused the offer in favor of continuing his studies in graphic design and is now an Oscar® winning production designer.
· When Bond and Camille freefall out of the DC3 aircraft, the stunt was performed by Daniel Craig and Olga Kurylenko at a wind tunnel facility called Bodyflight.  'Flying' in the wind tunnel is the closest you can come to freefalling 10,000 feet without actually jumping out of a plane. 
· In order to film the high octane foot chase across the rooftops of Siena, the production team had to remove the existing tiles from the houses and reinforce the roofs so the actors feet did not break through the tiles during the stunt.
· Over 200,000 rounds of blank ammunition were purchased for testing, training and filming QUANTUM OF SOLACE.
· Stunt Coordinator, Gary Powell, comes from a dynasty of stuntmen.  Between them, the Powell family have covered every James Bond film since DR NO in 1962.  His father, Nosher Powell, and uncle Dinny, worked on all the Connery and Lazenby films, his brother Greg worked on all the Moore and Dalton films, and Gary has worked on all the Brosnan and Craig Bond films to date.
· QUANTUM OF SOLACE filmed in more locations than any other Bond movie covering 6 different countries including; UK, Panama, Chile, Mexico, Italy and Austria.
· On location in hot and humid Colon, the film crew drank over 1,000 bottles of water a day.
· Over a period of just 12 days, the QUANTUM OF SOLACE special effects team set off 54 controlled explosions whilst filming the climax of the movie on the world famous 007 Stage.

"AT SOME POINT IN OUR LIVES, WE HAVE ALL BEEN BETRAYED"
Marc Forster - Director
BAFTA and Golden Globe nominated director, Marc Forster, made his directorial debut in 2000 with a psychological horror movie entitled EVERYTHING PUT TOGETHER, which he also co-wrote. The film premiered at the 2000 Sundance Film Festival and Forster went on to direct a string of critically acclaimed blockbuster hits including, most recently, THE KITE RUNNER  based on Khaled Hosseini 's best seller.
Although born in Germany, Forster was raised in Switzerland where he attended the famous Institut Montana Zugerberg.  However, his early ambition was to make films and in 1990 he moved to America to study film at New York University.  Forster commented, "When you grow up like that and suddenly you decide you intend to make movies, everybody says it's impossible, but here I am and I'm living my dream."
Today, Forster's impressive filmography includes MONSTERS BALL (2001), which received two Oscar nominations with Halle Berry winning Best Actress, and FINDING NEVERLAND (2004); a film based on the semi-autobiographical story of the friendship between J.M. Barrie and the single mother who lived next door with her four boys. FINDING NEVERLAND, starring Johnny Depp and Kate Winslet, received seven Academy Award® nominations, five Golden Globe nominations and eleven BAFTA nominations all including Best Picture.  Forster was also nominated Best Director by his peers at the Directors Guild Of America.
In 2005 Forster helmed the reality bending thriller STAY starring Ewan McGregor and Naomi Watts and went on to direct the hit comedy STRANGER THAN FICTION, with Will Ferrell, Maggie Gyllenhaal, Dustin Hoffman, Emma Thompson and Queen Latifah, the following year.
QUANTUM OF SOLACE is Marc Forster's first James Bond film.  He explains why the project appealed to him.  "It was a huge decision for me to take on the [Bond] franchise because it's so different from what I have done before.  When you direct a Bond film you are making a movie within a given framework. There are different aspects to 007 you cannot get around;  you have Bond, the girls, the cars, the history and millions of fans and this presented an incredible opportunity to me.  I was excited to find a creative way to tell the story within the framework, and I knew it would also be challenging.  It was exactly that challenge that really appealed to me."
Following the huge success of CASINO ROYALE is another challenge, Forster continues, "CASINO ROYALE was so successful and because of that people have higher expectations.  I felt the early Bond films of the 1960's (with Sean Connery as Bond and sets designed by Ken Adam) were ahead of their time in the design, locations and feel of the films and this was my inspiration.  I saw that there was room to create a new stylistic look for the Bond franchise."  Forster employed Academy Award® winning production designer Dennis Gassner to help realise his vision.  "One of the reasons I wanted to work with Dennis was because he created looks that you have never seen before in films like THE TRUMAN SHOW and his work with the Coen Brothers.  All those sets were designed with a strong stylistic vision which is so essential to the world of Bond.
"The other big attraction was the opportunity to work with Daniel.  He is an incredibly interesting actor.  Psychologically, he has brought Bond back to realism.  He isn't an untouched hero, he has faults.  He has a vulnerability and an emotional complexity which makes him human.
"Many of my previous films feature emotionally repressed characters.  When you study people who cannot express their feelings, they carry an emotional handicap with them.  I'm interested in characters like that because it's a common disease in humanity.  Ultimately, if you are able to open your heart to the world, one becomes more aware and conscious.  Our limitations always lead back to our inability to express ourselves emotionally, and Bond is a prime example of that.  Bond hadn't really experienced love until he met Vesper [in CASINO ROYALE] and that love was taken away from him.  Believing he was betrayed, he is slightly disorientated and unable to trust anyone. For me, the central theme of QUANTUM OF SOLACE is trust."
With a string of critically acclaimed character driven movies to his name, Forster talks about his experience working on a big budget action movie.  "The thought of directing an action movie was much more intimidating to me than actually doing it.  With these films, one has a great support system and a team who are experienced at working on action movies.  It's the planning and writing of action that is difficult, not the filming of it.  The key to action is that it tells a story because shooting action for action's sake is uninteresting and doesn't contribute to anything."
QUANTUM OF SOLACE filmed in more exotic locations than any other in the forty six year history of the franchise and Marc Forster was the driving force behind the decision.  "Exotic locations are a trademark of James Bond films, they are crucial in helping transport the audience to a different world.  It is hard to find Bond locations because the bar has risen and the world is becoming smaller.  We also had to find locations that would reflect the psychological state of Bond.  For example, one of the reasons I chose the desert was because it represents solitude and loneliness - it represents Bond's state of mind."
Olga Kurylenko was picked to play Camille, a vulnerable but feisty woman focused on avenging the murder of her family.  "I was looking for someone who would be the female counterpart to Bond, struggling with similar issues.  Olga understood the psychological and physical aspects of the character.    As she hadn't done a big action movie before, Olga had to go through rigorous training and did a lot of the physical action stunts herself, which was crucial to make the film feel as real as possible."
French actor Mathieu Amalric plays Dominic Greene, but is not the stereotypical Bond villain.  "Mathieu is a very special actor, he has a very timid and loveable way about him.  I thought it was more unexpected to cast an innocent looking man for a character who is really creepy and dangerous.  Throughout the movie you just get glimpses and feelings about the character but in the final sequence his true nature is revealed and you see how malicious and frightening he can be.  
"During the cold war, western cinema had a clear portrayal of what was good or evil. Today, however, the lines are blurred.  You don't know who the villains are, Bond could have villainous traits. I think it's important to look at that.  What does it truly mean to be good or bad?  What it means to kill or lose someone? What is the psychological impact of taking some ones life?"
Judi Dench makes a welcome return as M, the Head Of Mi6, Forster is enthused, "Judi is one of the greatest actresses alive.  Working with someone of Judi's stature is an honour.  She has such a strong presence, I wanted to develop her character further.  M is the only woman Bond doesn't see in a sexual context and so it's important to give the two of them more time together.  As we watch their interaction, we discover a different side to Bond and learn more about both of them."
Forster summarizes; "The central theme running through QUANTUM OF SOLACE is trust.  Trust itself comes in many different shades.  Who do we really trust?  Do you trust yourself?  Do we trust others?  All human beings have trust issues because, at some point in our lives, we have all been betrayed."

"We Don't Think There Are Any Rules"
Michael G. Wilson and Barbara Broccoli - Producers
Michael Wilson and Barbara Broccoli talk about how the character of James Bond has developed since the last film. "In CASINO ROYALE, Bond was severely emotionally wounded and he needs to find his way out of the experience he had with Vesper.  Bond has a recognition that he can't leave the service, he can't really find love in a normal sense of the word, have a family or anything like that.  He is bound to his job and it is too dangerous and violent a world to share with someone.  Bond doesn't want to be open to blackmail or put someone else at risk of being blackmailed."
QUANTUM OF SOLACE starts one hour after the end of CASINO ROYALE and marks the first time the Bond franchise has ever filmed two films in direct sequence. Wilson comments, "We don't think there are any rules about how the Franchise is run.  We have had references to one film in another film but it seemed like the natural thing to do because there are so many unanswered questions at the end of CASINO ROYALE and we think our audiences will be interested in the answers."
The producers talk about the success of CASINO ROYALE and why they felt the time was right to go back to the start of Bond's career and introduce Daniel Craig to the role of 007. "From the first time Daniel [Craig] did the screen test for us we were confident he would be a great Bond.  First of all he was handsome, very masculine and he keeps himself in tremendous physical shape - all that is prerequisite for the job - moreover, he is a great actor.  That is the beginning and the end of it.  He can pull it off.  He is probably the best actor of his generation in Britain, if not the world, so we were very lucky that he saw himself in the role and was willing to do it.  Secondly, the story was right out of Ian Fleming so it had a great structure.  I think whenever you make a new film with a new Bond or are taking the film in a different direction, you are never quite sure how popular the film is going to be.  Of course it is gratifying when it is popular but you just cannot know how successful it will be until it happens.  Now we want to duplicate the success of CASINO ROYALE and exceed it."
Both Wilson and Broccoli enjoy working with Craig.  "He is charming, funny, loyal and passionate - all of the things that you find in a great actor.  Daniel really enjoys making these films, he puts his heart and soul into it and is extremely studious and serious about his work.  In CASINO ROYALE he was exploring the character and he has gained a lot of confidence since then, so he's playing Bond with more confidence and an assurance that comes with that confidence.  He has a creative input that we welcome, he understands the character very well and therefore, when it comes to script and matters that effect the James Bond character, he is very much involved, his contributions are very important."
It is the first time Wilson and Broccoli have worked with the award winning director, Marc Forster, and they have been impressed with his methods.  "Marc is the most prepared director we have ever worked with.  He has a plan of every set and location and he works with the lighting cameraman [Roberto Schaefer] to map out every shot detailing where the camera will go for each sequence.  That is all done right at the beginning of the film for the entire movie and he sticks to it.  His first assistant, Michael Lerman, is likewise extremely prepared and takes the shots and puts in how much time they will take hour by hour, like the goal for each day.  It is amazing to see them work together."
The producers filmed the scenes set in Haiti and Bolivia in Panama and Chile, Wilson explains, "Panama is easy to work in - you can get to it easily, it works in the lifestyle, the people speak good English and the infrastructure is good in the country, not necessarily for filming, but every other purpose; hotels, transport etc.  With this particular film we needed a couple of locations and it worked out that between Panama City and Colon we could film both Haiti and Bolivia so it seemed the most effective way to plan the picture."
The producers explain the meaning of QUANTUM OF SOLACE and its relevance in the script, "The title originally comes from an Ian Fleming short story and, in the context of that, it means that a relationship cannot be salvaged unless there is a 'quantum of solace' between the two parties.  'Quantum' meaning 'measure' and 'solace' meaning 'comfort' - so if they are not willing to share that then their relationship is not redeemable.  In our case, it is a couple of things; Bond is looking for a 'quantum of solace' after his experiences in CASINO ROYALE, and 'Quantum' also happens to be the name of the villainous organization in the film.
called to interview for the Bond film I really couldn't believe it.  In an instant the 20 year old stunt guy that I was 30 years ago took over and, even though I had just finished my sixth picture back to back and really wanted a vacation, there was no way that I was going to miss working on the 22nd Bond film.
"One of the things that a lot of people don't know is that I write most of the action that I shoot.  So the first thing I asked Marc is if he minded me taking a pass at the action in this script.  Fortunately he really liked what I dreamt up.  Through this process we quickly found we were on the same page concerning the action for this film.
"One of the things I really believe is that we shouldn't try and make everything feel perfectly staged. I'm always saying to my crew, I want to feel like we were lucky to catch a glimpse of some crazy piece of action.   I don't want it to feel like a movie, where everything is perfectly presented to the audience."
Dan Bradley spent two months with the 2nd Unit in Italy shooting the car chase and the rooftop chase.  "I loved shooting in Italy, the locations were stunning but there is a price to be paid for all this stunning scenery and I paid it in gray hairs.  The logistics of taking over mountain and lakeside roads meant that often we had very limited time on the street to get our shots.  And car chases take time, lots of it, and the faster you want to drive the more time it takes so my ambition was often battered by my reality.
"I love the bit where Bond loses the driver's door of the Aston Martin. I have never before seen that in a car chase. In the middle of the chase, Bond's door is ripped off, now it's like, every car that comes past him, every shot that is fired at him, the potential for Bond's demise withers from every moment. I love that, I love what it gives us in terms of storytelling and the threat to Bond."
"I am always experimenting with ways to deconstruct the action so that it feels spontaneous and really dangerous as opposed to the reality; which is that, it is all very carefully and painstakingly choreographed and rehearsed so that it is safe.
"I have been very impressed with Daniel Craig.  He is an obviously talented and capable actor, but he has this fantastic work ethic and is willing to do just about anything to get a good shot, including his own stunts.  In the Siena rooftop chase there were several leaps across streets and alleyways from 4 and 5 story rooftops and Daniel did them all. He even jumped out a window and dropped 20 feet toward the roof of a speeding bus.  It's pretty impressive.
"I'm after emotional, visceral reactions from the audience and I get that through a shot by shot evaluations and judgment calls.  It's not easy and a lot of what I do requires the crew to think and operate 'outside the box'.  If something feels too familiar I find myself searching for a different approach. 
"I want each shot to pass my gut check.  Does it make me feel something? Does it feel dangerous enough?  Does it feel too staged or artificial?   Can we go faster?
"It's all a bit counter-intuitive.  It has to be safe but not feel safe.  We have to see it but if it is too easy to see then, to me, it feels staged.  I don't want the audience to have a passive viewing experience.  I'll do anything I can to subversively provoke them into active participation. 
"Every time someone finds themselves gripping the armrests in the theatre or leaning to one side trying to see something better, I've won.  That person is no longer just an audience member he's a participant.
"It's quite simply an unbelievable experience being part of a Bond film.  After all, Bond stands alone in its success and sheer longevity.  There will never again be another character that can so successfully remain relevant in a fast changing world."

PAUL HAGGIS - SCREENPLAY
Paul Haggis is the award-winning filmmaker who, in 2006, became the first screenwriter to write two Best Film Oscar winners back-to-back;  MILLION DOLLAR BABY (2004), directed by Clint Eastwood, and CRASH (2005) which he directed himself.  For CRASH he won Academy Awards® for Best Picture and Best Original Screenplay.  The film also received an additional four nominations including one for Haggis' direction.  CRASH reaped numerous awards during its year of release from associations such as the IFP Spirit Awards, the Screen Actors Guild and BAFTA.
In 2006, Haggis' screenplay collaborations included the duo Clint Eastwood productions FLAGS OF OUR FATHERS and LETTERS FROM IWO JIMA, the latter earning him his third screenplay Oscar® nomination. QUANTUM OF SOLACE is Haggis' second collaboration with Neal Purvis and Robert Wade on a Bond film following the critically acclaimed CASINO ROYALE.
Haggis' directorial follow-up to CRASH was IN THE VALLEY OF ELAH which he wrote, directed, and produced, for Warner Independent Pictures.  The film, which starred Tommy Lee Jones, Charlize Theron and Susan Sarandon, was a suspense drama of a father's search for his missing son, who is reported AWOL after returning from Iraq. 
Most recently, Haggis and his partner Michael Nozik formed Hwy 61 Films, based at United Artists.  Their first venture is an adaptation of the celebrated Australian novel "The Ranger's Apprentice."
Haggis was born in London, Ontario, Canada and moved to California in his early 20s.  For over two decades he has written, directed and produced television shows such as "thirtysomething" and "The Tracey Ullman Show," and also developed credits as a pup writer on many Norman Lear sitcoms.  He created the acclaimed, if short-lived, CBS series "EZ Streets" which the New York Times cited as one of the most influential shows of all time, noting, that without it "there would be no Sopranos."
Haggis is equally committed to his private and social concerns.  He is co-founder of Artists for Peace and Justice, a working board member of EMA (The Environmental Media Association) as well as the advocacy group Office Of The Americas, among others.

NEAL PURVIS & ROBERT WADE - SCREENPLAY
Neal Purvis and Robert Wade had their first success in 1991 with the screenplay of the controversial screen drama LET HIM HAVE IT, a true story about the killing of a policeman. The critically acclaimed film, directed by Peter Medak, was screened for Parliament and played a part in Derek Bentley's eventual posthumous pardon.
They have since worked in a variety of genres with screenplays such as THE WASP FACTORY, an adaptation of Iain Banks' novel for director Stephen Daldry, and PLUNKETT & MACLEANE, starring Robert Carlyle and Liv Tyler.
Between writing James Bond films THE WORLD IS NOT ENOUGH and 2002's DIE ANOTHER DAY, they worked on THE ITALIAN JOB starring Mark Wahlberg and Edward Norton and JOHNNY ENGLISH starring Rowan Atkinson and John Malkovich.  They then wrote and co-produced RETURN TO SENDER for director Bille August and performed the same duties on STONED for director Stephen Woolley, before writing the screenplay for CASINO ROYALE.
After delivering their screenplay for QUANTUM OF SOLACE, they wrote BARBARELLA for director Robert Rodriguez, to be produced in 2009 by Dino DeLaurentiis, and have adapted John Le Carre's latest novel THE MISSION SONG for producers Simon Channing-Williams and Gail Egan.  Their most recent collaboration is with director John Carney, on an adaptation of an M.R. James horror story, CASTING THE RUNES. They are currently producing THE LITTLE RED CAR, a comedy from their own script set in Paris and directed by Hattie Dalton.