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About The Production (Continued)
Academy Award winning production designer (Titanic) Peter Lamont has collaborated with the filmmakers on 15 Bond thrillers before this one, while stunt coordinator Simon Crane is a veteran of three previous 007 movies. Costume designer Lindy Hemming was involved in two previous Bond films, and casting director Debbie Mc Williams has six movies in the series to her credit.

The James Bond movies have provided special effects supervisor Chris Corbould with a hands-on training program as he served in various capacities on eight projects before The World is Not Enough. Miniature effects supervisor John Richardson has six Bond films to his credit, while music composer David Arnold first worked with this creative team when he scored Tomorrow Never Dies.

Second unit director Vic Armstrong first began working on the Bond series as a stunt man in You Only Live Twice in 1967, ultimately going on to serve as second unit director on Tomorrow Never Dies.

Cast and crew alike describe working on a James Bond movie as a soothing. even family-like experience. "It's a bit like coming back to family," observes Pierce Brosnan of his third outing as Agent 007. "It was comfortable, and I looked forward to making this film."

"This project was a homecoming in the sense that you are surrounded by familiar faces," agrees Judi Dench. "You don't feel like a stranger on the set, and it's a bit like a repertory company. What is lovely about the Bond films is that they have a family atmosphere, with lots of the same people involved each time"

"The idea is for me to appear in the next two or three installments with the intention of eventually taking over the role of Q when Desmond Llewelyn decides to retire, so it looks as though I may become part of the Bond family — and I couldn't be happier about that," explains John Cleese. "The Bond films have been a source of lifetime employment for some of the crew, and those movies have become a great British institution. I can't think of anything more fun than to actually become a part of it."

"I did wonder what it would be like," admits Michael Apted of coming to the set on the first day of production in the latest installment of the longest-running movie franchise ever. "I thought that there would be generations of baggage there, and that everyone would want to kill each other. In fact, it turned out to be an enormously warm and inviting environment."

Principal photography on The World is Not Enough began on January 11, 1999 at England's Pinewood Studios. "This is the 15th Bond film to be made at Pinewood, which is our traditional home, and it felt really good to be back there," recalls producer Wilson.

"Pinewood is the home of James Bond," agrees production designer Peter Lamont, "and I love designing the Bond films because it's always good to design realism, to reflect what's happening in today's world." Lamont designed and supervised the construction of all the key sets for The World is Not Enough. These included the interiors of both the London headquarters and the Scottish office of MI-6, the huge underground nuclear test facility (built on the 007 stage), the inside of the submarine where the film's climax takes place, as well as the largest exterior set built for a Bond film at Pinewood Studios, which replicates the oil pipeline walkways in Baku, Azerbaij an.

Pinewood was also the setting for many of John Richardson's meticulously crafted miniature sets, including Zukovsky's caviar factory, and several models of the oil pipeline central to the film's plot and the submarine, among many others.

"There's a great tendency to use computer-generated technology in film production today, because many technicians are attracted to the movie industry and they think that CGI is the answ


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