The editor

Of course, when it came out and he had that wonderful shot of Sean shooting down the gun barrel and all the dots coming down and all those things, I went up to him and I apologized because I thought whatever he did to the number only enhanced it and of course made the titles absolutely fabulous. Editor Peter Hunt recalls Maurice Bender. Marvelous man. Very inventive.

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The Bond films introduced a new and innovative style of film editing. Editor Peter Hunt explains his approach. It's all done for the drama of the scene. It made it more exciting. If I'd have done it as it was in single shots or in any other simple way of editing, it wouldn't have been as exciting. It was also able to exaggerate the sound noises.

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The window breaking is very exaggerated. All of that was exaggerated, but it made it exciting. It made it tension. Sound editor Norman Wanstall recalls Hunt's editing. When Peter started to see the rushes of Dr. No and had read the script, he began to get an immediate picture of the sort of film we were making. And I remember him saying, if this film's going to work, we've got to move it along very, very quickly so that people don't analyze things. Production buyer Ron Quelch.

5:14 · jump to transcript →

Tim Lucas

The film was begun with only one editor aboard, Eugenio Alabiso, who had cut For a Few Dollars More. But the task of cutting together such a long picture with a set opening date was more than Alabiso could manage alone, so Nino Baragli was brought aboard. Of the two men, Baragli had the more accomplished career, going all the way back to 1950, and whose past work included many of the Pasolini films that Tonino Delli Colli had photographed.

2:10:34 · jump to transcript →