The Living Daylights

In autumn 1985, following the financial[5] and critical disappointment of A View to a Kill, work began on scripts for the next Bond film, with the intention that Roger Moore would not reprise the role of James Bond.[5] Moore, who by the time of the release of The Living Daylights would have been 59 years old, chose to retire from the role after 12 years and 7 films. Albert Broccoli, however, claimed that he let Moore go from the role.[5] An extensive search for a new actor to play Bond saw a number of actors, including New Zealander Sam Neill,[3] Irish-born Pierce Brosnan and Welsh-born stage actor Timothy Dalton audition for the role in 1986. Bond co-producer Michael G. Wilson, director John Glen, Dana and Barbara Broccoli "were impressed with Sam Neill and very much wanted to use him." However, Albert Broccoli was not sold on the actor.[6] Meanwhile, financial backers at Metro-Goldwyn-Mayer recommended Mel Gibson, but Broccoli was not interested.[7] Other actors touted in the press included Bryan Brown, Michael Nader, Andrew Clarke, and Finlay Light.[8]

The official car, the Aston Martin V8 Vantage (Series 2), at a James Bond convention.

The producers eventually offered the role to Brosnan after a three-day screen-test.[9] At the time, he was contracted to the television series Remington Steele, which had been canceled by the NBC network due to falling ratings. The announcement that he would be chosen to play James Bond caused a surge in interest in the series, which led to NBC exercising (less than three days prior to expiry) a 60-day option in Brosnan's contract to make a further season of the series.[10] NBC's action caused drastic repercussions,[note 1] as a result of which Broccoli withdrew the offer given to Brosnan, citing that he did not want the character associated with a contemporary television series. This led to a drop in interest in Remington Steele, and only five new episodes were filmed before the series was finally cancelled.[12] The edict from Broccoli was that "Remington Steele would not be James Bond."[13]

Dana Broccoli suggested Timothy Dalton. Albert Broccoli was initially reluctant given Dalton's public lack of interest in the role, but at his wife's urging agreed to meet the actor.[6] However, Dalton would soon begin filming Brenda Starr and so would be unavailable.[14] In the intervening period, having completed Brenda Starr[15] Dalton was offered the role once again, which he accepted.[16] For a period, the filmmakers had Dalton, but he had not signed a contract. A casting director persuaded Robert Bathurst—an English actor who would become known for his roles in Joking Apart, Cold Feet, and Downton Abbey—to audition for Bond.[17]

Bathurst believes that his "ludicrous audition" was only "an arm-twisting exercise" because the producers wanted to persuade Dalton to take the role by telling him they were still auditioning other actors.[17] Dalton agreed to the film while travelling between airports: "Without anything to do, I decided to start thinking about whether I really, really should or should not do James Bond. Although obviously we’d moved some way along in that process, I just wasn't set on whether I should do it or shan’t I do it. But the moment of truth was fast approaching as to whether I'd say yes or no. And that’s where I said yes. I picked up the phone from the hotel room in the Miami airport and called them and said, "Yep, you're on: I'll do it."[18]

Dalton's take was very different from that of Moore, regarded as much more of a reluctant hero following an undeniable influence of the Fleming Bond in the way that the veteran agent was often uncomfortable in his job.[19] Dalton wished to create a Bond different from Moore's, feeling he would have declined the project if he were asked to imitate Moore.[20] In contrast to Moore's more jocular approach, Dalton found his creative muse from the original books: "I definitely wanted to recapture the essence and flavour of the books, and play it less flippantly. After all, Bond's essential quality is that he's a man who lives on the edge. He could get killed at any moment, and that stress and danger factor is reflected in the way he lives, chain-smoking, drinking, fast cars and fast women."[21]

Moore declined to watch The Living Daylights in cinema as he did not wish to demonstrate any negative opinions about the project.[22] Broccoli enjoyed the change of tone, feeling that Brosnan would have been too similar to Moore.[23] Neill thought Dalton performed well in the role[24] and Brosnan called Dalton a good choice in 1987, but felt it too near the bone to watch the finished film.[25] He would win the role in 1994, based on his filmed audition from 1986.[26] Sean Connery endorsed Dalton in an interview,[27] and Desmond Llewelyn enjoyed working with a fellow stage actor.[28]

The English actress Maryam d'Abo, a former model, was cast as the Czechoslovak cellist Kara Milovy. In 1984, d'Abo had attended auditions for the role of Pola Ivanova in A View to a Kill. Barbara Broccoli included d'Abo in the audition for playing Kara, which she later passed.[29]

Originally, the KGB general set up by Koskov was to be General Gogol; however, Walter Gotell was too sick to handle the major role, and the character of Leonid Pushkin replaced Gogol, who appears briefly at the end of the film, having transferred to the Soviet diplomatic service. This was Gogol's final appearance in a James Bond film. Morten Harket, the lead vocalist of the Norwegian rock group A-ha (which performed the film's title song), was offered a small role as a villain's henchman in the film, but declined, because of lack of time and because he felt they wanted to cast him due to his popularity rather than his acting. John Rhys Davies was optioned to revive his part in both Licence To Kill and GoldenEye in the scripting stages.[30] Joe Don Baker was hired based on his performance in Edge of Darkness, which was helmed by future Bond director Martin Campbell.[31]

Director John Glen decided to include the macaw from For Your Eyes Only.[32] It can be seen squawking in the kitchen of Blayden House when Necros attacks MI6's officers.

Stonor House

The film was shot at Pinewood Studios at its 007 Stage in the United Kingdom, as well as Weissensee in Austria. The pre-title sequence was filmed on the Rock of Gibraltar and although the sequence shows a hijacked Land Rover careering down various sections of road for several minutes before bursting through a wall towards the sea, the location mostly used the same short stretch of road at the very top of the Rock, shot from numerous different angles. The beach defences seen at the foot of the Rock in the initial shot were also added solely for the film, to an otherwise non-military area. The action involving the Land Rover switched from Gibraltar to Beachy Head in the UK for the shot showing the vehicle actually getting airborne.[33]

Trial runs of the stunt with the Land Rover, during which Bond escapes by parachute from the tumbling vehicle, were filmed in the Mojave Desert,[33] although the final cut of the film uses a shot achieved using a dummy. Bratislavan sequences were filmed in Vienna. The outside shots of the Bratislavan concert hall show the Volksoper, while the interior were shot in Sofiensäle. The tram scene was filmed in Währing, Vienna and the border chase was filmed in Carinthia, also in Austria.[34] Other locations included Germany, the United States, and Italy, while the desert scenes were shot in Ouarzazate, Morocco. The conclusion of the film was shot at the Schönbrunn Palace, Vienna and Elveden Hall, Suffolk.

Principal photography commenced at Gibraltar on 17 September 1986. Aerial stuntmen B. J. Worth and Jake Lombard performed the pre-credits parachute jump.[35] Both the terrain and wind were unfavourable. Consideration was given to the stunt being done using cranes but aerial stunts arranger B. J. Worth stuck to skydiving and completed the scenes in a day.[36] The aircraft used for the jump was a C-130 Hercules, which in the film had M's office installed in the aircraft cabin. The initial point of view for the scene shows M in what appears to be his usual London office, but the camera then zooms out to reveal that it is, in fact, inside an aircraft.[37]

Although marked as a Royal Air Force aircraft, the one in shot belonged to the Spanish Air Force and was used again later in the film for the Afghanistan sequences, this time in Soviet markings. During this later chapter, a fight breaks out on the open ramp of the aircraft in flight between Bond and Necros, before Necros falls to his death. Although the plot and preceding shots suggest the aircraft is a C-130, the shot of Necros falling away from the aircraft show a twin engine cargo plane, a C-123 Provider. Worth and Lombard also doubled for Bond and Necros in the scenes where they are hanging on a bag in a plane's open cargo door.[37]

The press would not meet Dalton and d'Abo until 5 October 1986, when the main unit travelled to Vienna.[38] Almost two weeks after the second unit filming on Gibraltar, the first unit started shooting with Andreas Wisniewski and stunt man Bill Weston.[14] During the course of the three days it took to film this fight, Weston fractured a finger and Wisniewski knocked him out once.[39] The next day found the crew on location at Stonor House, Oxfordshire, doubling for Bladen's Safe House, the first scene Jeroen Krabbé filmed.[40]

The film reunites Bond with the car maker Aston Martin. Following Bond's use of the Aston Martin DBS in On Her Majesty's Secret Service, the filmmakers then turned to the brand new Lotus Esprit in 1977's The Spy Who Loved Me, which reappeared four years later in For Your Eyes Only. Aston Martin then returned with their V8 Vantage.

Two different Aston Martin models were used in filming—a V8 Volante convertible, and later for the Czechoslovakia scenes, a hard-top non-Volante V8 saloon badged to look like the Volante. The Volante was a production model owned by Aston Martin Lagonda chairman, Victor Gauntlett.[41]

The Living Daylights was the final Bond film to be scored by composer John Barry. The soundtrack is notable for its introduction of sequenced electronic rhythm tracks overdubbed with the orchestra—at the time, a relatively new innovation.

The title song of the film, "The Living Daylights", was co-written with Pål Waaktaar of the Norwegian pop-music group A-ha and recorded by the band. The group and Barry did not collaborate well, resulting in two versions of the theme song.[42] Barry's film mix is heard on the soundtrack (and on A-ha's later compilation album Headlines and Deadlines). The version preferred by the band can be heard on the A-ha album Stay on These Roads, released in 1988. However, in 2006, Waaktaar complimented Barry's contributions: "I loved the stuff he added to the track, I mean it gave it this really cool string arrangement. That's when for me it started to sound like a Bond thing".[42] The title song is one of the few 007 title songs not performed or written by a British or American performer.

In a departure from previous Bond films, The Living Daylights was the first to use different songs over the opening and end credits. The song heard over the end credits, "If There Was A Man" (which also acts as the "love theme" of the film), was one of two songs performed for the film by Chrissie Hynde of The Pretenders. The other song, "Where Has Everybody Gone?", is heard from Necros's Walkman in the film - the melody of the song is subsequently used in the score to announce Necros whenever he attacks. The Pretenders were originally considered to perform the title song. However, the producers had been pleased with the commercial success of Duran Duran's "A View to a Kill", and felt that A-ha would be more likely to make an impact on the charts.[43]

The original soundtrack was released on LP and CD by Warner Bros. and featured only 12 tracks. Later re-releases by Rykodisc and EMI added nine additional tracks, including alternate instrumental end credits music. Rykodisc's version included the gun barrel and opening sequence of the film as well as the jailbreak sequence, and the bombing of the bridge.[44]

Additionally, the film featured a number of pieces of classical music, as the main Bond girl, Kara Milovy, is a cellist. Mozart's 40th Symphony in G minor (1st movement) is performed by the orchestra at the Conservatoire in Bratislava when Koskov flees.[45] As Moneypenny tells Bond, Kara is next to perform Alexander Borodin's String Quartet in D major,[46] and the finale to Act II of Mozart's The Marriage of Figaro (in Vienna) also features.[47] Before Bond is drugged by Kara, she is practising the Cello solo from the first movement of Dvořák's cello concerto in B minor.[48] At the end of the film, Kara and an orchestra (conducted onscreen by John Barry) perform Tchaikovsky's Variations on a Rococo Theme to rapturous applause.