![]() ![]() ![]() Glen, often deep in his thoughts while carefully surveying a scene, would often order a few takes before he was completely satisfied. On a Bond film, there’s always money available to keep production ticking over relatively smoothly. In a tight-budget film, one or two takes is maximum to get a scene right. This is the difference between a low budget film and one like a James Bond movie. “Not good enough, try it again”, said John Glen. When the scene was finally ready, and cameras in position, the clapperboard came down and James Bond threw himself under the train and rolled out again in true Bond style. So, obviously feeling satisfied, he decided to have a chat with the waiting technicians. Cubby Broccoli had appeared to make sure everything was running smoothly. The train was moved into position, the arc-lights were arranged to catch the action at its best, and everybody in the camera’s view was politely asked to move out of the way of the sightline of the camera. But Simmons, as stunt co-ordinator on the movie, was still in his caravan, possibly making last-minute planning preparations for some important big scenes later on in the day. Bob Simmons could easily have carried this scene off without looking any different nobody would have been any the wiser. The only similarity between Moore and the stuntman was the uniform and hair. Who was he? The villain’s stand-in? No, I should have guessed: it was Roger’s stunt double for the day. A shortish, slightly plump man with a light brown wig was present on set. The scene involved James Bond, as fit as ever, having to dive under a slow-moving train, to avoid being spotted by some German guards. While the cast involved in the morning filming were dining, a stunt scene was prepared for shooting, with Moore’s stuntman and a few of the co-stars in the background. In between takes, Roger and Cubby Broccoli (who had arrived earlier in a silver car to watch the day’s proceedings) played backgammon (yes, its true!). The dining room area was next door to the main cast and circus personnel caravans, which in turn were located in a field, with the leading lady-villain, the beautiful Maud Adams, and Bond star Roger Moore having the largest caravans. That was the morning over for cast and crew, and they all retired for dinner in the newly-erected dining room tents, laid back well out of view of the main set. The train station itself was notably old-fashioned and nineteenth century in design and look, and on the rail track stood two converted steam locomotives in West German disguise. In the background, behind some trees, was a dismantled circus tent, just showing the main poles and a couple of flags, and, in the other direction, were cleverly disguised storerooms. On the platform, level with the steam-engine’s passenger door, was the word ‘ROGER’ chalked on the ground so our clever agent knew where to stop, swing round and leap onto the train (a little touch of behind-the-scenes production which won’t be seen in the final film, of course).Īfter a few more takes, John Glen, obviously out for perfection, was satisfied. He began to look bored, having obviously done this small scene at least ten times. Roger Moore was dressed in a porter’s type of uniform, with the red circus emblem on the back just the same as the ‘Octopussy girls’. And I was there again, feeling very privileged. It was day no.2 of the main Unit filming at the Wansford Station site of the Nene Valley Railway. Bond (Roger Moore) began to board and unboard the train, talking and walking before the camera. The ‘Octopussy circus’ girls, all in identical white sweat shirts with their place of employment, ‘OCTOPUSSY’S CIRCUS’, prominently displayed on them, were on the other side of the footbridge. “CUT”, shouted John Glen, the director of Octopussy, “Another take, back in positions everybody”. Noticing it was clear, 007 lept like a cat on to the steam-train and quickly disappeared out of sight. James Bond, wearing an Octopussy circus jacket, walked calmly out from underneath the pedestrian railway bridge which ran over the main platforms at Karl-Marx-Stadt, with a large square wicker basket held in front of his face to hide his identity from the khaki-clad military guards. ![]() ‘On Location in Peterborough’, from: 007, vol.1, no.12, January, 1983. Here is a third set of extracts, with some extra comments restored from the original transcript. To help celebrate nearly 40 years of Octopussy, the late Roger Moore’s sixth adventure as James Bond, the JBIFC have been publishing some edited extracts from an on-set report we carried in 007 magazine back in January, 1983. ![]()
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