CHRIS CORBOULD OBE, Special Effects Director (below)
Chris Corbould is a record-breaker as well as an Oscar winner. The No Time To Die Special Effects Director, who returns for his 15th James Bond film, oversaw the mammoth explosion that ripped through Blofeld’s desert lair in 2015’s Spectre. Lasting for 7.5 seconds, the blast propelled Corbould into the Guinness World Records book, earning a certificate for the largest film stunt explosion ever seen on screen.
A true Bond series veteran, Corbould made his debut in 1977 with his role as a technician on The Spy Who Loved Me. In 1995, when Pierce Brosnan took the lead role in GoldenEye, Corbould worked his first 007 film as a supervisor and has been responsible for the special effects on every Bond film since.
CHARLIE HAYES, Location Manager
Locations are a fundamental component of the James Bond films, reflecting the mood and tone of the narrative, as well as transporting the audience to beautiful, fearsome or exotic parts of the globe. According to No Time To Die’s Location Manager Charlie Hayes, the director and production designer were always very specific about the locations.
“There was always a mood or a feeling that we wanted the locations to evoke, as well as being right for action and set pieces,” explains Hayes, who has worked on every Bond film since 2008’s Quantum of Solace.
No Time To Die carries Bond all over the globe, from Norway to Jamaica — although Hayes notes that one of the most thrilling locations was Matera in southern Italy, where the filmmakers shot scenes with the DB5.
“Matera is a magical place,” he explains. “It is not built for the modern world. The roads are narrow and short and it doesn’t seem like the obvious place to do a car chase. However, we use the environment and the vehicles in
a way that you just don’t expect. Working there was amazing.”
MARK TILDESLEY, Production Designer
Throughout the Daniel Craig era, the Bond filmmakers have offered a number of glimpses into their characters’ personal space, whether it’s M’s beautifully furnished house or 007’s rather spartan London flat. Further insights are offered in No Time To Die, where Production Designer Mark Tildesley was charged with bringing Bond’s Jamaican retreat and Q’s London abode to the screen.
For Bond’s home in Jamaica, Tildesley — working on his first film in the series — says that he initially imagined something “super architectural”, but soon realised that the film would be better served by a bespoke wooden structure, built with local materials, which complemented not only the beauty of the landscape, but also Bond’s desire to be closer to nature.
“We built a house by the sea where Bond could easily get in his boat and do a bit of fishing,” says Tildesley. “It is a very Jamaican-styled home, with everything feeling handmade.”
For Q’s home in London, meanwhile, Tildesley says he wanted an abode that would reflect the quartermaster’s quirky personality. “We’ve given him a house not far from Waterloo station, so that he can cycle to work,” he says. “It’s a traditional Victorian cottage that is quite cosy — a bit like Q himself.”
SUTTIRAT ANNE LARLARB, Costume Designer
Managing the sartorial strategy on the world’s longest-running film franchise is a mammoth logistical challenge,
a fact that is not lost on No Time To Die Costume Designer Suttirat Anne Larlarb. She cites the journey of Bond’s latest tuxedo as a case in point. She had been working with fashion designer Tom Ford on developing a fresh look for the tux and, while they would usually work with a six-month lead time, Larlarb and Ford only had six weeks to get the job done. “It came down to the wire,” says Larlarb, who is making her Bond debut. “We had it ready literally seconds before he needed to put it on in Jamaica. It was definitely an adventure.”
Larlarb, who is also an Associate Professor at Carnegie Mellon University in Pittsburgh, is responsible for the look
of every character in No Time To Die, although she notes that the biggest pressure comes with dressing James
Bond himself. And Bond’s tux is, arguably, his most iconic piece of clothing. “We wanted to make sure that the tux sang the praises of this new version of Daniel Craig that appears with us in this film,” she says. “So we made lots of tweaks to create something new and exciting.”
This interview is featured in the AM46 issue of Aston Martin magazine, out now. If you're not already a subscriber, visit magazine.astonmartin.com/magazine-subscription.