INT: So what I was going to ask you, but then we'll get back to Huston [John Huston], was had you ever worked with an Actor who had this instinct or this ability that Bogart [Humphrey Bogart], this God given ability that Bogart seemed to have?
GH: For my scenes, when I was under contract to Korda's [Alexander Korda] and making me the Director, I had to shoot endless tests of...All I can remember, Richard Burton I can remember, Stephen Boyd I can remember, Diane Cilento, Craig Tye. I think also some rather young ladies that I thought were rather good, but then you go and see them in rushes and it--and they've lost half of it. Somehow there is something...I do believe there is a magic that some Actors, consciously or unconsciously, have. I mean if I was, I've often thought of this, if I was in ever any charge of a studio or casting, long before you'd get anywhere at all, put ten Actors up on a police lineup, put numbers on them and get an audience of, you know, 50 people, girls, and say, "All right, this is number one and for two minutes you must stand still, you can pick your noses and, you know, but whatever you want to do and write down anyone that you fancy." And you will find that on pass number one and two there's nobody, pass number three they're all going for number six. And he's an ugly little bugger. I mean, there's a couple of handsome--Somehow he's got something. Now find out whether he can act, but he's got something that emanates.

INT: So you were just saying about Huston [John Huston], that he was lazy and I-that came from a question really, what did you learn from him? You said he was a great Writer.
GH: I always wanted to be the director's assistant. I found that difficult with Huston because you had to be very careful absolutely in him a-like pressing a button. If you offered up a prop and said, "How do you like that John?" "Oh no, kid, it's much too small, it's, you know." And the poor prop man used to go bananas. And then I discovered what you do is you get two props and you say, "Which of these do you prefer, John?" Oh well there's no comparison. And that dates back to being a coward. He's absolutely, I think, cowardess is one of his things. And being a coward is if the front office, they do something, then make bloody certain you don't. If Sam Spiegel says, "John, you got to get a move on, make absolutely certain that the whole crew sit on their buns for all the following morning." He will not be bullied, he will not be, to the point where it's stupid. [INT: But you didn't learn that from him, I mean you never used that.] I never used that.

INT: So how did you get your first directing job? You'd been working...
GH: Carol [Carol Reed] on THIRD MAN [THE THIRD MAN], I was driving to a location with him and he said, "You know, what you’re doing after this picture?" And I said, "You know, earning my living, because you take so much time before you make another picture." And he says, "Well, you know, there's nothing much else I can teach you. I mean you've got to make your own mistakes." I said, "Well, you know, my contract is..." I said--so then I began to think that I might be able to know enough. It was quite difficult to get a break as Director in those days because there was no television and making a film was always an expensive form of entertainment. There were plenty of Directors around and there were not many good Assistants and Korda [Alexander Korda] wasn't going to let me go because I was considered a useful Assistant [Assistant Director]. But, I'm now in Salon [France] with Carol [Carol Reed], and Christmas was spent out there, but my contract is up at Christmas. And Carol says, "This is it, Guy [Guy Hamilton]." I mean because they sent me a thing to sign, you know, that we're renewing you for another year. "And so write back and say you won't be renewed unless I get a picture to direct." I said, "Look, you know, I'll try that." And then I see our Associate Producer, Carol--Hugh Perceval, coming over the mountain top and down and he's got a telegram and it's for Carol and I thought it was for me. And Carol opens it and then he--I go over and he says, "Read this, Guy [Guy Hamilton]." And it was, "You bastard, you put him up to it. Love, Carol--Love, Korda [Alexander Korda]." So I missed out there. The truth of the matter is that I was--Sir Arthur Jarrett was head of British Land and British Land, and making pictures at British Land, and he has seen THE THIRD MAN in rough cut. And he'd sent a telegram to Carol [Carol Reed], that Carol showed me, and he went jumping up the room and it said, "Dear Carol, saw the picture last night, I think it's absolutely splendid, but do take the banjo off." And he threw it away and I kept it. And I was taken out to lunch at the Hungaria by Sir Arthur Jarrett to say, "You're a nice lad, you got a future, but we want you as an Assistant Director [INAUDIBLE] 'cause you've got--And I led the conversation around to the zither and he said, "Oh, it's an absolutely awe. I mean, you know, made the picture, made the picture." I said, "Well that's not the original." He said, "You know, I think you're smart enough to be a Director." Well, that moved things on a little bit. [INT: So you blackmailed him into giving…] Well, that's halfway there. Then we were going slower and slower at Shepperton [Shepperton Studios] and making films. There was Carol, David Lean, Mickey Powell [Michael Powell], Leslie Arliss--There were about half a dozen, and they were all going slower and slower. We were taking sort of 16, 18 weeks to make a film. And Alex [Alexander Korda] had all up to carriages and read the riot act and said, you know, "I made a picture, I mean I made so and so in three weeks." But Alex [Alexander Korda], it was silent! "Yes, but I was--If I put sound on six weeks, not 18 like you lazy...I could make a film today in three weeks." I said," Alex [Alexander Korda], you're on." All of them said, you know, "Make a picture in three weeks." He said, "All right." So then he decided to do HOME AT SEVEN, which is a play, with all the contract artists. Ralph Richardson was in the play, Jack Hawkins was a contract Actor, and he did three of these three week. So he cheated a little bit because the three weeks rehearsal and three weeks shooting. HOME AT SEVEN was the first one. Alex shot off to America to get the money and he said Ralphie [Ralph Richardson] will direct and," you know, and Ralphie [Ralph Richardson] said, "I'll do the rehearsal, but as for the camera, I know nothing." Do you want a funny story? In the HOME AT SEVEN--No, I'm--cut. The funny story's for later. The three week pictures, the third one--The second one was made by George Morrow Farrel and I was to be his assistant and I said, "Absolutely, no way." I mean, you know, he can't direct traffic. And so I made a fuss and so okay, I now had certain support from Carol [Carol Reed], from Sir Arthur Jarrett, and Alex Korda [Alexander Korda]. And so he gave me the third one, which was, "For God sake, make a comedy thriller. You'll miss some of the thrills, you'll miss some of the laughs, but with luck there'll be enough left for a picture. And don't worry about the first one, it's the second one you've got to worry about." So I did THE RINGER, an Edgar Wallace story, with Herbert Lom, Mai Zetterling, you know, all sort of British cast in one big set. And half a night shooting, night shooting with bashers [British slang for light] on the roof of the Criterion [Criterion Theatre], which is the only free lighting I could find.

INT: So you'd seen a lot, and you, now you get to direct. What weren't you ready for?
GH: It was like learning to ride a bicycle without the hands. I mean the first time you're wobbly, worried about where the camera's going next. And Carol [Carol Reed] gave me the greatest advice you can give to any learning Director. When in doubt, do a close shot. I mean it's perfectly obvious. I mean you've just done this shot. And had no idea where I should go next, you know. Now for God sake, don't let the crew know you don't know. Just say, you know, and do a close shot and that gives you, by the time they change the lens and you will have five minutes in order to sort it out. And I took editing very seriously and so he gave me his Editor, Bert Bates. And I wrote Bert [Bert Bates] some cutting notes, you know. I shot the scene and I went to see it and it wasn't at all the way--I said, "Bert, that's not the way..." He said, "If I'd have put it that way, you'd be so embarrassed you'd shoot yourself." I said, "But Bert, please let me see my own shit because how will I learn unless I can see the way I shot it or meant it to be?" He said, "All right. From now on I'll put it the way you shot it and you'll soon learn." And by God I did. It is important not let the Editor rescue you until you really know what you're doing wrong and the things.. [INT: Then you know you need rescueing?] You need rescuing. And then, of course, later on you do appreciate so much the Editor who helps you, but you've got to learn, you know, it's a combination of the pair of you. I mean every picture to me is your continuity lady and the Editor. [INT: Right.] I mean those are the three things that really make the picture.

INT: And as you went on to make other movies, you felt you were in the right business?
GH: Yes, you start to--You feel more comfortable and you relax. You know perfectly well, I mean in the old days and I, 'cause I seen it happen constantly, there's always going to be an explosion from your leading man or leading lady about the sixth week. And so and it's absolutely guaranteed. It is because they're driving into the studio and they've been told, you know, where to do this, where to do that, pick up this. And they're reading the script--They say, "Hold on, I mean supposing instead of coming in through the door I came in through the window, you know." And so they come on the set and say, "Oh I've got a marvelous idea going, you know." And I'll be very careful because it could be a marvelous idea or it can be a terrible one. If--But be sure that when you pick a round with the Actor that you're going to win it and-and then there's perfect peace and quiet for the rest of the picture. But you can sense it's coming. You can sense it's coming.

INT: Did you enjoy working with Actors? Did you enjoy it?
GH: Some much more than others. I have a great respect for Actors and you've got to love them. I mean your job as the Director is nothing more than to show them up to the very best advantage and cover up their weaknesses and exploit their strengths. [INT: I mean, how do you handle an Actor who's behaving badly?] Well I had plenty was on drugs and I will not tolerate that, and just cut him out of the picture and back to the US of A he went. On the whole, on the whole, I do treat them with respect. I mean as an assistant, I mean I two, second and third, worked our little buns off to make sure. I hate them being called and not used. I hate them being called much too early. You know perfectly well. I would rather cover for you because you made a mistake than you get them there early. I think that's important.

INT: And what about Writers? Did--Were they good relationships?
GH: Yes, I mean it's terribly important. Some Writers I got along with, Tom Mankiewicz, who passed away recently. I mean, he and I got along like a house on fire. [INT: Did you write yourself?] I try not to only because I don't trust it. I don't--Ioccasionally write a scene, but I'm never sure whether it's good or bad.

INT: So we--let's get to Bond [James Bond]. What was your first association with Bond?
GH: My first association with Bond was being asked to do DR. NO. Cubby [Albert R. Broccoli] sent it to me, gave it to me, I read it, I thought it was quite fun. A bit over the top. You can't take it too seriously, these endless, you know. Bond is too good to live. And anyway, the whole thing became academic because for family reasons, I couldn't go to Jamaica for six or eight weeks or whatever it was. And so pass, thank you very much. And then I saw it and enjoyed it, it was fun. [INT: Was it meant to be fun? Originally when Cubby had the idea or sent you the script?] No, I think even Terence [Terence Young] will admit that the tension screw was screwed too much with--and where they were expecting things, there were screams of laughter in many, many places which rather upset the--And that's really when I realized quickly that there is a point where you gotta be careful. And they certainly learned that lesson on FROM RUSSIA WITH LOVE, which is a very good picture. It seemed to me that it was all moving in a good direction.

INT: So then they came to you?
GH: Then they came to me on--Excuse me. [water break] And said would you like to do GOLDFINGER? And I read the script and I thought it was a rather good script. Far too many Americanisms because Commander Bond RN, short back in size. I thought, and I want to emphasize that department, and all the Bank of England scenes. Those sort of things should be devoid of Americanisms and what have you. But beyond everything, it seemed to me that going on FROM RUSSIA [FROM RUSSIA WITH LOVE], that Bond [James Bond] was in danger of becoming Superman. He was too clever, he was--There was now no suspense because if somebody pulls a gun on him you know that he's going to kick it away before the scene's over. Bond is as good as his villains. Let's spend more time worrying about the villains, and make that important. Then also, let's have fun with the Mr. Big who's an intelligent man so that they can have a--You can have intelligent conversations with Bond that always end up with well now I can't stand the sight of blood, but so I will, excuse me, and I will hand you over to Oddjob, or whoever we can find. I think the credit titles, the pre-credits which have, sort of sniffed at in the two previous pictures, but I think you've got to really go for it now. I would like it to be how I want you to see audience, how I want you to see the picture. I mean, if you think it's funny that a man under a diving suit has a white dinner jacket and he's got a carnation, he can see the villain reflected in the girlfriend's eye as you're about to give him a big kiss. If you think that's funny, good, because I've got lots more of this nonsense. The great thing is leave your brains under the seat and we'll all go for a great big ride. Don't ask too many questions, how did Bond know? Because he was wearing green socks on the night of the 15th, you know. Don't--I mean I know, but you don't want to know 'cause it's boring dialogue. [INT: So you set that tone in the pretitles?] Pretitles. Preset the tone of the picture. [ INT: Now that was your set--That was your idea, that was your contribution, really.] Well, I can't help myself, but that's why take--I cannot take the story too seriously. I cannot take the story too seriously. Can you explain to me what those little Koreans in those funny outfits with the--All running around Kentucky, Fort Knox--What the American people would be wondering what were all these--Where do all these Koreans appear from magically? Oh, from Goldfinger's Farm Repairing, you know. I mean it's, come on. Come with me because we're not going to take it seriously. What we're going to do is what you'll get and you're going to come along so long as you enjoy the joke with me. [INT: Right. That's great. So that-that was something you saw from the first two that you wanted to incorporate into yours?] Yeah. And our job was, you know, very lucky. I'd seen him on a wrestling program and so he was ideal casting and away you go. He was such a nice man anyway. Ken [Ken Adam] and I... [INT: This is Ken Adam?] Yes. We went to Fort Knox with Cubby [Albert R. Broccoli] and it was quite amusing because we were only allowed up into the fence and we said, "You know, please can we come in now and look around?" And he said, "No, you may not come in and have a look around. Even the President of the United States is not allowed to come in and have a look around." "Oh, why not?" And he said, "Well it's a--it's an old--it's in the Constitution apparently because as to prevent a villainous President putting gold bars in his pocket and walking out the gate. But we realized that nobody had ever been in Fort Knox, there's no pictures of it, there's no nothing at all. And we also, Ken [Ken Adam], I mean it's a--it's an Art Director's dream. I mean we all sussed out, we--we talked to one or two of the guards and things, and we all sussed out. It really looks like inside of a prison, you know, all little cells and there's so much and then they put on trollies and they're all on things, and they've all got steel things because they're forever dropping gold bars on their boots. And--and whatever it happens, it mustn't look like inside of Sing Sing. [INT: Right, right.] And Ken did a marvelous set.

INT: Well how did you approach the actions? And so had you ever done stuff much like that?
GH: I can't think. Yes, I'd done some car chases in Nick Gardner, the same one that they did in the recent Bond [James Bond], which is so terrible, you know, with all that chop chop on the pre-credits. I mean had--I don't know what that was about. And that was, you know, I don't know, you can't start a picture that way. Yes, I mean I've done a few stunts and things, but nothing that was worrisome. The Aston Martin was fun in-in inventing, I think Richard Maibaum had come up with a couple of things. But I think my step son came up with the injector roof. And that was really high tech because we had a rubber band and a dummy, and a prop man that cut the band and then the entire thing went shooting up and all you did was a Korean, you know, had to go. [INT: Had they used the Aston Martin before?] No. [INT: So that was in GOLDFINGER for the first time?] That was it's--Yes, I mean the--I'm not a petrol head. In fact, I hated the Aston Martin because we had it when they asked, when they decided to--Fleming [Ian Fleming] was a Bentley boy and that must be a Bentley, but in Cubby [Albert R. Broccoli] and Ken Adam's mind Bentleys were sort of rather old fashioned and so I don't know what they used previously, but Aston Martin was to be--an Aston Martin--Could we have three please because we need one [INAUDIBLE]. And they says you may not. And we need one to cut to bits. And they were very uncooperative. Having no idea what was going to happen to Aston Martin.

INT: Was there anything else in GOLDFINGER that you brought to it that was new in the franchise?
GH: I suppose Q. Q had been Desmond Llewelyn, had been in Dr. NO--In RUSSIA [FROM RUSSIA WITH LOVE]. And he only does one days' work or two days' work and he's very nervous and he's very bad at all the lines, which all gobbldy gook. And so we're shooting down in Q's quarters, and in comes Bond [James Bond] and he genuflects. And I said, I mean-and he said, but this is, you know, done right. I said, "You hate the bugger." He says, "Why do I hate him?" "I mean think, he comes down here, he pays no attention to what you say, he takes his props away, uses it in completely different ways that you intended, never returns them. I mean the man's a menace as far as you're concerned and the sooner 009 turns up the happier you will be." "Oh yes, I suppose that's true." [INT: Was this to the Writer, to Richard [Richard Maibaum], or is this to the Actor?] This is to the Actor straightaway. I mean because I was amazed at poor--So we rehearsed the scene and now it's really, you know, just flying, you know, because if I can have your undivided attention. And then I said, "Fine, cut." And Cubby [Albert R. Broccoli] was on the set, which is very, very rare. You're sitting there and he said, "Aren't you going to tell him about the button, what, the eject?" I said, "No, Cubby. I've said that there's a bit of this and there's a bit of that and you press so, so, so, but I want the ejector seat to be a surprise, you know, because there is Bond and now he's got a boat there. I mean all your little buttons is--aren't going to--Q, where are you? There's nothing for this. And then, you know, the red button and, yeah, off he goes. I think that will get a big laugh." And he says, "It'll get a big laugh anyway, but tell the audience what you're going to do and do it." But you never argue with Cubby, with that Calabrese, and I mean you're wasting your time as you'll know. So, shot all the rest of the dialogue and I said, "You're not cutting." Well, it stayed in and Cubby's absolutely right, tell 'em what you're going to do and then do it. And I think that one time that Cubby came up front because most of the time...

INT: And then you had a gap, then you had the six year gap, and am I right, after that gap is was Roger Moore that Sean [Sean Connery] had left or did you do more than one with Sean?
GH: They did the laserbeam one [GOLDFINGER]. [INT: Yeah.] Oh, after GOLDFINGER, they came out to LA and they said, "Would you do THUNDERBALL?" And I said, "No, I've got no fresh ideas. I mean I've done a Bond [James Bond] and I gotta do something else. But, should you ever, if you ever do another Bond I'd like to do HMS because there Bond falls in love and I can't wait, you know." On your knees, James. And it's about a French girl, and the hottest French girl is Brigitte Bardot at the period and Sean [Sean Connery] and Brigitte Bardot would make a great double act and it's not--it's quite a good story. And they said, hey, that's a hell of an idea. They shot off and I never heard anything at all and then they came back about a week later and I said, "It's the most stupid idea you've ever had." I said, "I'm stupid." And I said, "Do you realize that if we start having a star playing the lead opposite Bond, it's going to cost us a fortune enough to-Brigitte Bardot will have to be Faye Dunaway and [INAUDIBLE] that'll be Elizabeth--I mean and Jesus, no, I mean the whole idea of the, you know, we pay for the--Don't mind paying for the effects for thing, but Jesus we don't--The girls pay us." So the--I didn't hear anything for a time and then after Laserbeam [GOLDFINGER]--after, yes, after Laserbeam [GOLDFINGER]--sorry. They said, "Come and do the one without Sean, Laserbeam [GOLDFINGER] without Sean." And they did endless tests all over the place and I wasn't very interested in the tests because whoever was going to be Bond was not my decision, it was obviously the franchise. I thought Burt [Burt Reynolds], there was a young Actor called Burt Reynolds who I thought would make a sensational Bond, he was a great stunt man, and but he's American. Darling, Bond is German, he's French, he's Japanese. You can get Feelgood [Sir John Feelgood] to dub him if you want, you know. And of all these tests for the new Bond, none of them worked or to their satisfaction and Sean was made an offer that he couldn't refuse, and back he came. The story was set in racing territory that was very fashionable before the war, but had gone right downhill, and Vegas [Las Vegas] was obviously the--the new gambling center. And I'd been on honeymoon in Vegas having a look around and I thought it was a very good place to shoot a picture. And Cubby [Albert R. Broccoli] who was out there, this is on--When he came out with THUNDERBALL, the powers that be did not allow movies into Vegas. The reason being that the husband that was meant to be in Chicago on a business so and so, would be seen in the casino by his wife and she would sue it'll be, you know--And no cameras in. Well, I don't have to tell you that Matthew Kineshings, Sidney Korshak and the doors opened and it was absolutely wonderful to shoot in Vegas. Ken burst into--Ken Adam burst into tears because we're looking around for the most awful suite of all the suites. And we went into every presidential suite and on top of, I forgotten whether it was Caesar's Palace or whatever, there was a duplex, there were mirrors everywhere, anything that wasn't moving was painted gold. I mean it was glorious. And I said, "Ken, can you imagine how much it would cost to build this set"? He said, "Yes, lot's of money." I said, "It's absolutely perfect. And we got this buck cheap." He said, "But Guy [Guy Hamilton], you cannot shoot here." I said, "Why not? Ken, it's wonderful." He said, "But this is terrible taste." I said, "But that's the whole point." He said, "But they will think that I built it!"