This can only lead to becoming inefficient. I stress the word necessary because I certainly don’t believe in carrying around, on expensive locations, unnecessary items. This was all put together by my wonderful assistant, Mike Frift we have worked together for 12 years, and I have never known him to forget one nut or bolt, let alone a piece of necessary equipment. The camera equipment selected was Panavision anamorphic, (supplied by Samuelson's of London). During this preparation time, I was shooting another film, so location reconnaissance, from my angle, was taken care of by Arthur Wooster and my very good and experienced gaffer, John Tythe from Pinewood Studios. My responsibility lay with the main unit, so I equipped myself to cope with all eventualities likely to occur (having, of course, read the script, but not, unfortunately, having seen the locations). Roger Moore stars as Bond for the fifth time. They have just as many problems as I have and, after all, I may even get the credit for some of their wonderful work. Always make time to listen to, and be helpful to, my fellow cameramen, on the other units.Be always aware that TIME IS MONEY and that TIME, TIDE, SUN AND RAIN, DAY AND NIGHT, WAIT FOR NO MAN.Remember that James Bond pictures are always done with a very “glossy” see-it-all approach, yet with plenty of opportunity for the film to be visually interesting and moody when necessary.Always try, my absolute darndest, to be sure that “James Bond” (Roger Moore) looked his immaculate, handsome self, no matter what the circumstances.Be very close to, and loyal to, my director.With all of this lined out, I had to take stock of what my actual functions would be as director of photography and I sort of reckoned that, by order of priority, they would line up something like this: An American underwater filming crew was concurrently shooting in the Bahamas.Ĭlick on the image for our complete Bond article collection.
The schedule was eventually set for 20 weeks of shooting, which broke down to: six weeks on the Greek island of Corfu, two weeks at Meteora in Central Greece, three weeks in Cortina (Italy), and nine weeks at the Pinewood Studios near London, which included underwater filming in the Pinewood tank. Ski-chase Unit - Director/Cameraman Willie Bognor.Special Effects Unit - Director Derek Meddings/Cameraman Paul Wilson.Underwater Unit (Bahamas) - Director/Cameraman Al Giddings.Helicopter Sequence Unit - Director/ Cameraman Jim Devis.2nd Unit - Director/Cameraman Arthur Wooster.The final slate number of the main unit alone was 11094, but eventually, the picture was shot by six units, as follows: John had already done a lot of thinking about his approach to the logistics of shooting two hours-plus of a fast-moving action film. This collection of articles first appeared in AC August, 1981. That is certainly how I felt when director John Glen and producer Albert “Cubby” Broccoli announced that I was to photograph For Your Eyes Only. To be given the job of photographing a James Bond picture must be some sort of achievement in itself. Every day on a James Bond film is a different “ballgame,” but Time, Tide, Rain, Sun, Day and Night wait for no man, as filming goes on.
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