The Living Daylights - Workprint

The snow chase and most of Afghanistan's missing, but it's worth a download if you like the film.

I won't spoil any other differences for now, unless someone wants me to.

Code:

http://www.megaupload.com/?d=YLRX1QF5

I uploaded this copy myself.

What format are the videos in?

It's a single video (audio-video interleave).

Anyone grabbed this yet? I may have to document all the differences for fun, regardless of interest.

Very interesting. Wish the quality were better but I guess this is the best we could hope for. I actually like the execution of 004 better here than in the final cut, although it does need the Dalton reveal close up.

Probably the best work from Robert Brown EVER in the accidie line reading. Maybe I have to reassess his tenure as M, because I usually think of him as the weakest link (on-screen) in the Glenn era. There's enough difference here IMO to be of real interest to Bondophiles, plus the obvious aspect of how a film changes as postproduction goes on.

Thanks very much for the link!

Happy to help.

The brief exchange about accidie really alters the tone of that scene, with M coming off a lot more sympathetic towards Bond (though I think the dialogue's too self-conscious). In any case the final cut's heightened friction is likely more entertaining to the casual viewer indifferent towards a faithful depiction of the literary dynamic between Bond and M.

Makeshift Python wrote:

I actually like the execution of 004 better here than in the final cut, although it does need the Dalton reveal close up.

Agreed on both counts - the build-up to the kill's probably the only moment editing-wise that I prefer here to the final cut. Apparently Bond's reveal was filmed later on at the studio, hence its exclusion here.

Just as an aside, twenty-three people have downloaded the workprint so far. Feel free to chime in, whoever you are.

Sleeper wrote:

Agreed on both counts - the build-up to the kill's probably the only moment editing-wise that I prefer here to the final cut. Apparently Bond's reveal was filmed later on at the studio, hence its exclusion here.

I always figured that was the case. It's the one shot in the film that feels out of place with the rest of the sequence because it obviously looks like it was filmed indoors and the lighting looks very unnatural.

That's Alec Mills for you.

Necros listening to ZZ Top

The one bit I really liked was the extension of Bond's line 'If the Russians don't get you, the Americans will':

Quote :

If the Russians don't get you, the Americans will. No place to hide. Personally, I'd take the Americans.

It's not an outstanding line or anything, but Dalton gives it the perfect sting. That's exactly the kind of wit he excelled at. And that's just what I always thought that scene needed, too - for Bond to be more biting, to be more mocking. Whitaker's licked, and Bond knows it, but the guy's busy playing games.

It actually made me think of how Dallton would have fared in CR, given the notion of Le Chiffre having to take refuge with CIA in that film's ... uh, script.

Wait, what!?

Is this the actual work print!?

WOW!

Thank you so much for posting this! I've just watched it. Making some notes as I went! Here's most of the stuff that was cut, unless I missed anything. (I probably did!)

• We all know about the gunbarrel, with Dalton jumping and stuff, so I won't say anymore about that.
  
• Most of the film is unscored, obviously. Goldfinger and A View To A Kill soundtracks make an appearance in the PTS.
  
• 004's death is slightly changed. There's no big reveal shot of Bond.
  
• The shot of Bond meeting the woman at the end of the PTS is slightly extended. Instead of smiling on the phone, he hangs up, and stands back up and takes the glass from the woman.
  
• Many lines have been redubbed. The woman in the PTS, Koskov in Bonds car, Q sounds a lot lower, and Necros' accent isn't disguised.
  
• The Pretenders song is none existent.
  
• There's a short scene of Koskov crying into his napkin at the safe house.
  
• When Necros appears, there's a massive scene added where before the Milkman lets him go, he abruptly stops the van, and takes a bottle of milk and tells Necros to "Put it on the bill", Necros hastily tells him to take another bottle, because it's 'fresher'. We then see Bond leaving the safehouse as Necros is coming in.
  
• Extended scene in M's office.
  
  Bond: I took a split second decision. It was instinct.
  M: Or Accidie?
  Bond: Revoltion. With ones occupation.
  M: It happens to undertake (barely audible dialogue). Ah, I'll recall 008 from Hong Kong he doesn't know Pushkin so it will be easier for him. And you can take a fortnights leave.
  
  
• Q telling Bond to get a move on in his lab.
  
• The man getting up from behind the sofa when Q plays the trick on him.
  
• The shot of Bond getting off the tram with the Cello Case, I don't think I've seen before. I could be wrong though.
  
• Bond saying 'Blue Car' to Kara when she's looking across the street.
  
• The Car Chase is completely cut, after the guy opens the phone booth door, we cut straight to Pushkin and Whitaker in Tangiers.
  
• I THINK there's a new scene with Felix saying to his girls "We're recording something on remote camera girls!", if it was in the movie I can't remember it.
  
• Whitaker saying "Very good!" to the saluting soldier is not there, he just looks up then back down to his food.
  
• New scene with Bond and Kara entering Vienna in the back of a Lorry. It parks up opposite the fair ground, and Bond gets off, lifts Kara off, thanks the driver, then shouts for a taxi.
  
• A rather awkward shot of Bond laughing in the carriage. Glad that was cut.
  
• An extended scene with Kara and the dress. The assistant walks over to Bond and Kara, Bond tells Kara to try the dress on. Kara smiles.
  
• Kara shouting 'THAT ONE!' when Bond wins her the bear isn't there, nor is the sound where Bond and Kara are scared by the jumping statue.
  
• Bond line "I arranged it. We could be here all night." is a different take. as is "Don't think, just let it happen.", it sounds as if he's about to rape her. Glad that was altered.
  
• After Saunders' death, the existing shot of Kara looking, was originally Kara running to Bond.
  
• The owner of the Cafe says something about a cheque. Bond replies with "Better make that two!"
  
• Kara saying 'WHERE ARE YOU GOING!?' When Bond runs past her chasing the what he thinks to be the assassin, is actually "What's the matter!?"
  
• Bonds line "We leave first thing in the morning" is an alternate take, and there's no shot of Bond dragging Kara away. Instead, Bond walks away and leaves Kara behind.
  
• When Bond confonts Pushkin, the scene doesn't move to Pushkins death, instead Bond goes back to visit Kara to get poisoned, omitting the whole Tangier's chase completely.
  
• Extended scene of Bond being poisoned. When Bond goes down in the film the scene ends, in this one he gets back up and tries again to shoot, he then collapses. After Koskov says to Kara she was perfect, Koskov picks up Bonds gun, and Necros picks him up to put him on the stretcher.
  
• Alternate shots of Bond in the ambulance. Too many to note.
  
• Scene on the plane starting with a slow pan up to Bond in the chair unconscious, the heart is brought in by Koskov and Necros and placed infront of Kara. Koskov turns around and takes a look at Bond then enters the cockpit. Another exterior shot of the plane, and the scene with Bond unconscious from the released film is played.
  
• "Diamonds...." not "Diamonds hidden in the Ice." Just "Diamonds...". Bond looks at Kara "Where are we going?", Kara replies "I don't know."
  
• Instead of the film cutting to outside the plane, Bond smiles at Kara when she closes the lid. The shot of the plane was already used, because of the extra scene.
  
• After Bond says "We have an old saying too, Georgi, and you're full of it." Koskov sniggers and Bond takes a sip of his coffee.
  
• As the plane lands, the Colonel watching turns to nod at someone. This is cut just before in the film.
  
• The Colonel getting kissed by Koskov shows both cheeks, and not the one.
  
• After Koskov sends Kara away at the airbase, he says "Farewell, darling!"
  
• The Prison Guard whistling to the keyring has been extended.
  
• When Bond traps the guard in the cell, he says "Good job there's sound proofing! Wouldn't want to wake the Colonel."
  
• Extra shot of Horses on the horizon, before they go to the Kamrans place.
  
• Shot of Kara throwing her cap off in the suite her and Bond are in, and walking over to the bed.
  
• Shot of Bond looking at Kara and smiling, as Kamran thanks them for their help.
  
• When Kamran is telling Bond stuff is too risky the medium close up in the film, is now a long shot. There's a few shots from different angles as well, most notably Bond leaving the room and going to see Kara.
  
• Bond lifting Kara around and kissing her on the sofa is not one continuous shot, at a weird high angle, well at the start anyway.
  
• Cut to Whitakers place in Tangiers. Yes we skip to the end of the film, the whole action scene is gone. Flocks of birds fly up off the wall, instead of cutting to the security camera.
  
• Establishing shot of building. We slowly zoom in to Felix on the boat just outside of Whitakers place. Shot of Bond climbing over the wall.
  
• A rather long scene of Bond, from his POV, proceeding into Whitakers HQ, looking for him. Shots of him by the pool, moving quickly to the doors.
  
• "You're finished Whitaker. If the Russians don't get you the Americans will. No place to hide. Personally, I'd take the Americans."
  
• Koskovs delivery of "Colonel Pushkin!" is an alternate take, as are the rest of his lines in the final scene he's in.
  
• Shots of Kara looking around the auditorium trying to find Bond. She can't see him.
  
• Shot of Gogol shaking Kamrans hand saying "My pleasure!" after M announces him as a foreign minister. Long shot of Kara leaving. Gogol grabs Kamran into a half hug and says "And now. We can be friends!" They both walk off past M.
  
• Kara whistling in her hotel suite for Bond. Bond whistling back(!). Bond and Kara kiss. The camera pans away so Bond and Kara are hidden by a stand. "Oh James." and then, a more orgasmic "Oh James!" as Karas clothes are flung over it.
  
  
  

I didn't want to create an existing thread for this, so I pasted it into this thread....here are some elements from the first and second drafts of the film that were cut either during pre-production or in the editing process:

In the first draft of TLD, Bond and Kara escape the doomed C-140 by flying out into the Persian Sea. Bond tries to land the plane on the deck of a friendly aircraft carrier, but he can`t stop the plane quick enough. The plane goes over the edge, slightly teeters, giving 007 just enough time to hoist the cargo net out and latch it onto the ships derrick. Bond and Kara escape to safety.

Dalton filmed a lenghty and elaborate chase ssequence in the streets of Tangier that was significantly cut. After "killing" Pushkin, 007 jumps from rooftop to rooftop to escape the Tangier police. He grabs a roll of carpet, lays it out across some telephone wires, and slides across the rooftops of Tangier like Alladin. About to crash, he grabs a banner overhead, holds on to it, and swings down into the crowded alleyways of Tangier. Swinging like Tarzan, he latches onto a local vendor selling oranges on his motorbike. Bond jumps on the seat with the driver, takes over the steering, pops a wheelie, spilling all the oranges, and proceeds to screech down the bustling marketway.

Easily the most inspired action sequence of the film, it was unwisely cut in an effort to distance Dalton from Moore`s interpretation of the action sequences.

Kamran Shah was originally referred to as Ranjit in early drafts of the film.