captioning funded by cbs and ford-- built for the road ahead. >> pelley: tonight on this special edition of "60 minutes presents," a night at the movies. in "les miserables," hugh jackman plays one of the most heroic characters in literature, jean valjean. >> ♪ look down, look down don't look him in the eye >> pelley: his performance won him a best actor oscar nomination, and jackman told us that everything he's done in a wide-ranging career has led him to "les miserables." >> i know that it demands everything from me as a singer, as an actor to pull it off.

it's the role of a lifetime. >> and action! >> stahl: steven spielberg insisted the sets of his movie "lincoln" be historically accurate, down to the books, the rugs and the wallpaper. he even recorded the sound of lincoln's actual watch. and actor daniel day-lewis recreated his high-pitched voice. >> tell us the news from the hill. >> ah, well the news... >> why, for instance, is this thus, and what is the reason for this thusness? >> stahl: day-lewis stayed in character through the making of the entire film. >> i never, ever felt that depth of love for another human being that i never met. >> bond, james bond. >> cooper: he is the world's most famous spy and for 50 years, from sean connery to daniel craig, 007 has always had

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>> pelley: good evening. i'm scott pelley, and welcome to "60 minutes presents." tonight, a night at the movies with three of the most fascinating screen performers that we've met in a long time. we've assembled an international cast for this cinema celebration, and we'll begin with hugh jackman. "les miserables," among the greatest novels of the 19th century, became one of the most successful broadway musicals of the 20th century. and last december, when we first broadcast this story, hollywood was gambling that this epic tale had the power to revive the musical form on the screen. they were right. the movie was a box office hit and won eight oscar nominations, including best picture and best actor for hugh jackman. no actor combines the talents of a broadway song-and-dance man

with the film presence of an action hero the way that jackman does. and when we first met him in his native australia, the 44-year- old actor told us that everything he has done in a wide-ranging career has led him to this one moment. in "les miserables," jackman plays one of the most heroic characters in literature, jean valjean, imprisoned for stealing bread for his sister's starving family, an angry brute of a man whose sentence extends to 19 years because of his hunger to escape. his nemesis is inspector javert, played by russell crowe. >> ♪ look down, look down don't look him in the eye ♪ look down, look down you're here until you die... ♪

>> hugh jackman: any movie musical is like mount everest. i think it's the most difficult form ever to pull off in film. when it works, it's spectacular; when it doesn't, it stinks to high heaven. >> pelley: this film is either going to be a hit or it's going to be a massive bust. >> jackman: yup. >> pelley: why did you take the risk on it? >> jackman: jean valjean is the holy grail for me. it's... i know that it demands everything from me, as a singer, as an actor to pull it off. it's the role of a lifetime. >> pelley: the story, written by victor hugo in 1862, follows valjean's redemption against the backdrop of a failed revolt against the monarchy. >> jackman: ♪ he is young, he's afraid... ♪ >> pelley: the film is unique in the way that the actors sang their roles. usually in musicals, they record songs in a sound studio and then lip sync when the camera rolls. but in "les miz," they sang in the moment.

>> jackman: ♪ bring him home, bring him home, bring him home... ♪ we would wear a little ear piece where someone off the set there was playing music. and we would hear the live piano and we would just sing. >> pelley: what do you get from that? >> jackman: you get an emotional truth. for example, there's one song, and it's, literally, written like this. ♪ "what have i done, sweet jesus? what have i done? ♪ become a thief in the night, become a dog on the run. ♪ have i fallen so far and is the hour so late that nothing remains but the cry of my hate?" that's how it's written. now, i could, "what have i done, sweet jesus? what have i done? become a thief in the night..." ♪ become a dog on the run. have i fallen so far and is the ♪ hour so late that nothing remains but the cry of my hate... i could mix it up, i could take

a pause. if i was emotional, i could be emotional. ♪ i am reaching, but i fall and the night is closing in ♪ as i stare into the void to the whirlpool of my sin ♪ i'll escape now from that world from the world of jean ♪ valjean. jean valjean is nothing now ♪ another story must begin! >> pelley: the story of hugh jackman must begin in australia. his parents sailed from england into sydney harbor in the 1960s. hugh was the youngest of five, born to an accountant and a housewife.

they were all together until one morning when he was eight, and his mom did something that would shape his life. >> jackman: i can remember the morning she left. it's weird the things you pick up. i remember her being in... a towel around her head and saying good-bye. must have been the way she said good-bye as i went off to school. when i came back, there was no one there in the house. and the next day was a telegram from england. mum was there, and then that was it. >> pelley: she had left the family? >> jackman: yeah. i don't think she thought for a second it would be forever when she went. i think she thought it was, "i just need to get away and i'll come back." dad used to pray every night that mum would come back. >> pelley: did you ever worry that the family would just come apart, that your dad would go, too? >> jackman: never, in a million years could i imagine... my father is a rock. my father is my rock. it's where i learned everything about loyalty, dependability, about being there day-in, day- out, no matter what. >> pelley: jackman would see his mother about once a year.

alone, chris jackman raised three boys and two girls. he scraped together private school tuition. and the boys went to knox grammar school, the conservative alma mater of australian c.e.o.s and prime ministers. hugh wanted us to see the place that set him on his course. >> jackman: this is the headmaster... or was the headmaster's office. this is the no cursing area, just so you know. >> pelley: you didn't spend any time in the headmaster's office, did you? >> jackman: i'll tell you a story-- i was the captain of the school. i don't know if you have that kind of title, so... >> pelley: it's like class president. >> jackman: right, so the headmaster brought me in. "i want you to be class president." and i was like, "wow, fantastic, great." and i went back to class, was mucking around in class. and the teacher said, "go straight to the headmaster's office." i was like, "this is going to be really awkward," because... >> pelley: i just came from there. >> jackman: literally, an hour before, he just made me class president. so i knocked on the door and he says, "hugh?" and i said, "yes, headmaster, i've just been thinking a little bit about next year." and we had a bit of a chat, it was perfect. >> pelley: you didn't tell him

why you'd been sent back. >> jackman: no, no, i... i thought he might rescind the offer. >> pelley: that bit of acting got him out of a jam, but it was in here that he first felt a stage beneath his feet and applause in the air. >> jackman: up here was probably the highlight of my childhood. >> pelley: up on the stage? >> jackman: yeah. oh, my gosh. >> pelley: look at you. is that you? >> jackman: that is me. >> pelley: do you remember this night? >> jackman: i absolutely remember every bit of it. >> pelley: look at this. i mean, you're... you're into it. you're loving this. >> jackman: i was so happy and felt so at home. and i just loved it. >> pelley: it was a love that drew him off the traditional path. with $3,500 he inherited from his grandmother, he went to acting school and was hired in his first audition after graduation. >> jackman: my very first job. it was a tv series called "correlli," and it was lust between the bars. >> pelley: lust for leading lady deborra lee furness, to whom he proposed four months into the

job. >> jackman: i just had an absolute certainty that she was the person i was going to be with for the rest of my life. even when deb tried to break up with me, which she did, i said, "don't worry, i get it. i'm your worst nightmare, a young actor in his first job. but don't worry, we're going to be together. this is it." >> pelley: and it was. >> jackman: we're going on a date night tonight. >> pelley: married 17 years, they've adopted a boy and a girl who are now 13 and seven. one of the things that he says is "happy wife, happy life." >> deborra lee furness: see how smart he is? good looking and smart. he's very good at making me a happy wife. >> pelley: and the key to happiness? jackman turns down the jobs that would separate them. >> furness: we never have more than two weeks apart. >> pelley: is that a family rule, two weeks is the max? a lot of families these days are separated by much more than that. >> furness: we choose not to. we don't like it. and then you make the choice, why are you doing the job?

if you're away from your family, what's the point? >> jackman: yes, my man. >> pelley: but he was away for that role of a lifetime in "les miz." his family lives in new york, but he was shooting in britain. and the memory of that absence was fresh when we asked him about his father's experience. what advice does he give you today? >> jackman: it's always about the family. ah... ah... it's all... sorry, mate. it's always, "how's deb?" it's not about work. and i think that's him living with, probably, some of his regrets and feelings of maybe he... you know, at the wrong time, put too much into his career. and he doesn't want me to make

that mistake. and so, in his gentle way, he always reminds me this is the most important thing. >> pelley: beautiful house, but not your house. >> jackman: no. >> furness: we're always living in someone else's house. >> pelley: jackman wasn't making the same mistake again when we met him in sydney. he was spending six months here shooting an action film, so he moved the family, too. he was returning, for the fifth time, to the character wolverine from the "x-men" comic books. jackman told us that the only time he didn't listen to his wife was when she urged him to refuse the role. these films made him wealthy, and he emerged an international star. it's a physical part for which jackman sculpts both beard and body, and he invited us to his two-a-day workouts. >> jackman: that didn't feel easy this morning. >> pelley: impressive. impressive. >> jackman: i always say, when i

lift something heavy, i remember that is wolverine. the little bit to where you're going to want to drop it and then you go, "no way," that little bit is wolverine. >> pelley: you change bodies the way other actors change costumes. >> jackman: well, this is your tool as much as your voice, as much as your emotions, and so i've always taken that very seriously. and i love playing wolverine. it's a great character, but i want it to be better than the last time. i want to be physically in better shape. otherwise, there's no point doing it. >> pelley: but, look, you're a successful guy. you don't have anything to prove to anyone. you have this little voice in your head telling you to do more, do better? >> jackman: if i didn't have that, i wouldn't be sitting here opposite you. at the same time, for the sake of people around me, it'd be nice to be able to, "whew," you know, put it down for a while. >> pelley: it might also be nice for the sake of people around him if he didn't take the risks that he seems to relish. >> jackman: ♪ whoa, whoa. when my baby...

>> pelley: he won one of the first of his two tonys on broadway playing peter allen, the gay australian songwriter. did you think for a minute, "man, this could be career limiting? i don't know if i want to take this chance?" >> jackman: never thought it for a second. what sexuality you are is not the most interesting thing about you; it's the kind of person you are. and that role just had... first of all, it was naughty. ( cheers and applause ) how are we doing downstairs? ( cheers and applause ) there's a few nervous people in the front row, all of a sudden. i would never give myself permission to do the things i did as peter allen. and his sexuality, for me, is another costume. it's a personality trait, it's not who you really are. however, when i was doing peter allen, there's a scene where i kiss my boyfriend, who's dying of aids. and i go in for the kiss, and i heard this-- "don't do it, wolverine." ( laughter )

>> pelley: from the audience? >> jackman: from the audience. obviously, some... some kid's going, "yeah, let's go and see wolverine in that show, mum. let's go and see it." he's like, "what?" as i come out with my maracas and pineapple shirt, you know? ♪ who am i? i'm jean valjean. >> pelley: jean valjean is another surprise for an audience that can never be sure what it will see when the camera rolls or the curtain rises on the characters of hugh jackman. >> jackman: ♪ who am i? 2-4-6-0-1! ♪ out there owning it. the ones getting involved and staying engaged. they're not afraid to question the path they're on.

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>> stahl: with the 150th anniversary of the civil war, we're going through another abraham lincoln revival. not that interest in him really ever fades; there've been close to 16,000 books and now steven spielberg's movie "lincoln," which was nominated for 12 academy awards. the film is filled with things about our 16th president that we, who aren't lincoln scholars,

didn't know, as lesley stahl found out when we first broadcast this story in february. daniel day-lewis, who won the oscar for best actor, brings the great man to life. >> daniel day-lewis (as "lincoln"): i can't listen to this anymore. i can't accomplish a goddamn thing of any human meaning or worth until we cure ourselves of slavery and end this pestilential war. >> day-lewis: i never, ever felt that depth of love for another human being that i never met. and that's i think probably the effect that lincoln has on most people that take the time to discover him. >> stahl: after agreeing to take the part, daniel day-lewis spent a year reading and doing research into abraham lincoln the man. >> day-lewis: he does feel as if

he's carved in stone when you first approach him, because of the way he was as a man. as you begin to discover him, it's almost as if he welcomes you in. >> "lincoln": tell us the news from the hill. >> ah, well the news... >> "lincoln": why, for instance, is this thus, and what is the reason for this thusness? >> stahl: so much about daniel day lewis' portrait rings true to the man, including things most of us didn't know, like what lincoln sounded like. >> day-lewis: there are numerous references to him having a high- pitched voice. >> stahl: did that influence you? >> day-lewis: it's a clue, i suppose. all clues are potentially helpful. >> "lincoln": and come february the first, i intend to sign the 13th amendment. >> doris kearns goodwin: that's definitely the way people who heard him speak at the time said he spoke. so, somehow, he mastered that voice. >> stahl: even lincoln historians, like doris kearns goodwin, who was a consultant on the movie, say the portrait, down to the high voice, was eerily authentic because of daniel day-lewis' method acting. >> goodwin: steven told me later that he never came out of that voice until after the filming was over.

>> stahl: so the whole time they were filming, he stayed in character, which is his method? >> goodwin: absolutely. >> stahl: steven is steven spielberg, the director, who decided that the movie would be only about the last four months of lincoln's life, when, worried that the emancipation proclamation would be voided after the war, he pushes for passage of the 13th amendment to end slavery once and for all. >> steven spielberg: what he was seeing was that the war was going to come to a close, and once the war was over, he would have a snowball's chance in hell to pass this. he needed to get this thing through with great haste. >> stahl: here's something most of us didn't know: lincoln was a was a hardball, down-and-dirty kind of politician. to get the amendment passed, he used ruthless, even deceptive tactics. lincoln, our great, great hero, was a great horse trader and did get his hands dirty. >> spielberg: at the same time, it was noble and grand, but it was also dark and murky, which is sometimes... >> stahl: a little scummy. >> spielberg: ...what all

politics are. >> stahl: but they were buying votes. >> spielberg: there's no money involved. they were trading administration jobs called patronage jobs to get a yes vote to abolish slavery. >> but we can't buy the votes for the amendment. it's too important. >> "lincoln": i said nothing of buying anything. we need 20 votes was all i said. start of my second term, plenty of positions to fill. >> stahl: lincoln did everything in the politician's handbook to get the amendment passed-- cajoled, arm-twisted, negotiated, and he bullied his cabinet. >> "lincoln": buzzard's guts, man. i am president of the united states of america, clothed in immense power. you will procure me these votes. >> stahl: and meanwhile, the

war, the civil war, was continuing to take the ever mounting number of lives, which lincoln saw with great guilt. the scene in the movie when he rides through the aftermath of the battle of petersburg is heartbreaking. >> stahl: did that happen? did he really go to the battlefield? >> goodwin: lincoln actually went to the battlefield about a dozen times during the war. he needed to walk amidst the thinning ranks of the soldiers. he physically felt every life that was lost was on his soul, on his heart. >> "lincoln": some weariness has bit at my bones. i've never seen the like of it before, what i've seen today. >> stahl: what saved lincoln... during the war, and throughout his life, was his sense of humor and the stories he loved to tell that he often enjoyed more than his audience. >> "lincoln": i heard tell once of a jefferson city lawyer who had a parrot that waked him each morning crying out, "today's the

day the world shall end, as scripture has foretold." and one day, the lawyer shot him-- for the sake of peace and quiet, i presume-- thus fulfilling, for the bird at least, its prophecy. >> stahl: one of the things that i loved in the movie, several times, where he'd start... you start telling a funny story in almost inappropriate moments. >> day-lewis: right. >> stahl: and everybody rolls their eyes, "oh, god, here he goes again." >> day-lewis: yeah, stanton, his secretary of war, was always apoplectic. and that... that is known, that's a historical fact, that stanton just couldn't stand him telling stories. >> "lincoln": there is one ethan allen story that i'm very partial to. >> no, you're going to tell a story. i don't believe that i can bear to listen to another one of your stories right now! >> stahl: was he just a supremely confident man, or was

it that he wasn't a confident person? >> goodwin: it's a mystery in a certain sense, because he is... at one level, he's extremely confident. i think from the time he was young, he knew that he was, in some sense, a genius. but when he was young, he was so worried that opportunities would never allow him to exercise his talents. and he was hugely ambitious. he wanted to be remembered for having done something that would stand the test of time. so, boy, has that been achieved- - saving the union, ending slavery and living forever in history. pretty good. >> spielberg: and action. >> stahl: spielberg went to great lengths to make his movie look as historically accurate as possible. here's first lady mary todd lincoln; here's sally field, who put on 25 pounds to play the part. this is abolitionist thaddeus stevens, and this is tommy lee jones in the role. and here's secretary of war edwin stanton, played by bruce mcgill. and rooms in the white house were recreated.

spielberg went out and found first editions of books lincoln read. i heard the same rug by the same... i mean, it looked the same. the same books. >> spielberg: same wallpaper. same books. >> stahl: same paintings. >> spielberg: and the watch that lincoln carries on him that you hear ticking sometimes, the museum allowed our sound designer to record the actual ticking of lincoln's actual watch. so whenever you hear the ticking, that's the same ticking that lincoln heard 150 years ago. >> stahl: i understand you wore a suit for this shoot. >> spielberg: i felt naked without one. i'd never worn a suit before. i think i wanted to get into the role, more than anything else, of being part of that experience. because we were recreating a piece of history that we hope will stick around for a while. and i wanted to feel like i was a part of that recreation. and so i didn't want to look like the schlubby baseball cap- wearing 21st century guy. >> stahl: in reaching to portray the real lincoln, the movie doesn't just deal with him as

president; it delves into his personal life and his tormented relationship with his wife. >> goodwin: he was troubled by her, he was challenged by her, he was hurt by her, all of those things together. >> "lincoln": "your grief, your grief, your inexhaustible grief." >> sally field (as "mary todd lincoln": how dare you throw that up at me? >> "lincoln": and his mother who wouldn't let him near her because she was screaming from morning to night. >> stahl: did they fight like that? >> goodwin: yeah. oh, there were real fights. >> stahl: who's afraid of virginia woolf? >> goodwin: yeah. >> "lincoln": for everyone's god damn sake, i should've clapped in the madhouse. >> "mary todd lincoln": then do it. do it. don't you threaten me, you do it this time. lock me away. >> stahl: when the movie starts, their second child has already died, willie. and she has been in the deepest of mourning. as i had heard, she basically closeted herself upstairs in the white house. and is this true? doris, stopped mothering the younger child, tad?

>> goodwin: the most terrible thing that mary did after willie died was she couldn't bear being with tad, her youngest son, because he reminded her of willie's absence. it's as if both willie and tad died after willie died. lincoln had to become both mother and father to tad after mary turned away. and he had to take over not only the country, in leading the country, but take over that little kid at the same time. what you see are the kinds of gestures that are so loving-- when he lies down next to him in the fireplace, when he carries him to bed at night. >> "tad": papa? >> "lincoln": hmm? >> "tad": papa, i want to see willie. >> "lincoln": me, too, taddie, but we can't. >> "tad": why not? >> "lincoln": willie's gone. it's three years now, he's gone. >> stahl: the four years of the war took a toll on lincoln. you can see that he aged, as does daniel day-lewis in the

course of the movie. he grows wearier, he hunches over more, his distinctive walk seems to slow. >> goodwin: "it was almost as if his gaunt frame needed oiling," people said. and he would walk as if he were walking over a difficult field, and his leg would come up and go down in a very uncomfortable way. one of his friends said, "he looked like a laborer coming home after a hard day's work." that the... somehow, the weight of the world was felt in that walk. >> "lincoln": am i in trouble? >> no, sir. >> "lincoln": thank you, mr. slade. >> stahl: one of the most poignant scenes in the movie comes near the end. it's april 14, 1865; lincoln is leaving the white house for ford's theater. >> "lincoln": i suppose it's time to go, though i would rather stay. >> goodwin: there is something about the emotional connection that you develop with this man, about the trial that he went through, about this extraordinary moment in our country's history. and somehow, i ended up with

affection as well as respect for him, and in... in the end, probably real love. >> stahl: you've said one of the sad things about the end of a movie is that you have to leave that character. did lincoln stay with you after? >> day-lewis: oh, yeah. i wish he'd stay forever, really. i suppose what you miss is the pretense of seeing the world, understanding the world through their eyes, because it's just a pretense, it's a game. but, yeah, i missed him a lot. >> and now a cbs sports update presented by pacific life, i am steve overmyer at women women andy murray beats novak djokovic to be the first british person to win in 60 years.

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>> pelley: turning 50 is a major milestone in anyone's life, but when the world's most famous secret agent turned 50, we thought that was as good a reason as any to raise a glass-- in this case, a vodka martini, shaken not stirred. james bond celebrated his 50th anniversary on screen last fall with the release of a new film. bond is the longest running movie franchise in history and one of the most profitable, earning roughly $6 billion in ticket sales worldwide. what's the secret to 007's longevity? as anderson cooper discovered in october, while, on screen, bond has consistently changed with the times, behind the scenes, one family of producers has been responsible for his success from the very beginning. back in 1962, a small-time

producer named albert "cubby" broccoli made the first bond film and went on to produce 15 more. before he died, he turned over control to his daughter and stepson, producers who still own half the franchise and oversee every aspect of every film. >> action. >> cooper: cubby broccoli's daughter, barbara broccoli, and his stepson, michael wilson, oversaw production on the set of "skyfall," the 23rd bond film in the franchise they inherited. before your dad stepped down, did he give you any advice? >> barbara broccoli: well, i guess the main thing was he said, "don't let other people screw it up." >> cooper: the fact that you've kept this in the family, do you think that's critical to the success of this? >> michael wilson: i think so. >> broccoli: we are, well, control freaks, you know? and we're excited. we're still excited by... i mean, every morning, you know, you get up, you think, "wow, i get to go, you know, on a bond set." ( laughs ) and it's thrilling.

>> cooper: "skyfall" stars daniel craig in his third outing as 007. he's the sixth actor to play bond in its 50-year history. why do you think it's lasted for 50 years? >> daniel craig: sort of giving value for money to the cinema- going public has been the credo of the broccoli family. >> cooper: cubby broccoli talked about putting all the money on the screen? >> craig: yeah. and they still give a large bang for your buck. i mean, the fact that they haven't been bought out by a studio over the years is incredible. and i think if it... it'd been sold in the past, if a studio had taken it, it would've died. they love making these movies, and that shows, when... when you're... when you're making the film. >> cooper: the film's opening, over-the-top action sequence-- a broccoli family trademark-- was shot in turkey, with daniel craig performing many of his own stunts. >> craig: i get a huge thrill out of it, like a schoolboy thrill, you know. that is... that is about being, you know, being action hero on top of train, which is like... like i said, so far removed from who i am. but i'm getting to sort of live out a few fantasies. >> so, mr. bond... >> cooper: fantasy has always

been at the heart of james bond's appeal. when ian fleming, a former british naval intelligence officer, published the first bond novel, "casino royale," in 1953, it offered readers a much- needed escape from the austerity of post-war britain. cubby broccoli's dreams of bringing bond to the screen were realized when he met another producer, harry saltzman, who'd obtained the screen rights to fleming's early bond books for a mere $50,000. for their first film, 1962's "dr. no," broccoli and saltzman picked sean connery, then an unknown scottish actor who introduced himself to audiences with three words that are now movie history. >> mister...? >> sean connery: bond, james bond. >> broccoli: he sort of exploded on the screen in technicolor with jamaican locations and... >> cooper: and hot women. >> broccoli: ... hot women and bikinis... >> looking for shells? >> connery: no, i'm just looking. >> broccoli: it's a pretty exciting world that bond

inhabits. >> cooper: but it's a world sean connery almost wasn't part of. hard to believe, but in the beginning, broccoli told us ian fleming didn't think he was right for the role. what do you think his concern was about connery? >> broccoli: well, he didn't fit the sort of typical british hero, but cubby and harry saw him as a rough diamond. they just felt this electricity. >> where were you measured for this? >> cooper: to help him look the part, the film's director took connery to a saville row tailor to get him fitted for a suit. >> broccoli: he said to sean, "all right, now, it fits like the glove. and i want you to go home and i want you to sleep in it. and i want it to become your skin." >> cooper: he made sean connery sleep in his saville row suit? >> broccoli: sleep in his suit. ♪ ♪ >> cooper: over the course of six films, connery set the bar for the five actors who followed: george lazenby, for one film; roger moore; timothy dalton; pierce brosnan; and now daniel craig. do you have a favorite bond? ( laughter ) >> broccoli: it's like asking, you know, who's your favorite child or your favorite sibling.

you know, you have to understand, we grew up with all of them. >> cooper: i heard that you actually believed bond was real when you were a child. >> broccoli: i did, because that was all everybody ever talked about in our house. so it was like some, you know, exotic, distant uncle who was going to appear at any time. >> cooper: do you wish he was real? >> broccoli: well, he is real to me, in a way. because he's... you know, so much of my life is, you know, dedicated to him. but i'm not sure he'd be that much fun in real life. i think, you know, maybe to spend a weekend with him, but i don't think you want to live with him permanently. >> cooper: he's not a long-term relationship kind of guy. >> broccoli: no, he's definitely not a long-term relationship. >> behave yourself, mr. bond. >> james! >> cooper: bond may not be dependable, but his films certainly are. and that's one reason for their success-- the broccoli family formula, a big budget, high- octane mix of ruthless gun play... that racy girl play, and often risqueé word play. >> connery: who are you? >> my name is pussy galore.

>> connery: i must be dreaming. ( machine gun fire ) >> "q": it's not perfected yet. >> cooper: few bond films would be complete without a visit with "q"... >> q: here we have a geiger counter. >> cooper: ...the eccentric mastermind behind 007's high- tech and often outlandish gadgets... >> q: these fire heat-seeking air-to-air missiles. >> cooper: ...which, over the years, got him out of many sticky situations. turns out some of q's gadgets are stored with other bond movie memorabilia at this nondescript warehouse on the outskirts of london. it's like something out of "citizen kane." meg simmonds oversees the collection of half a century's worth of artifacts. there was this box of crystals from "die another day." >> halle berry: no, leave it in, please. >> meg simmonds: one of those was in halle berry's belly button. we're not sure which one. please put on the gloves. >> cooper: she handles the most iconic bond props like museum

pieces. the oldest one is from "dr. no." >> simmonds: oddly enough, a champagne bottle survived. >> dr. no: we'll have dinner at once... >> simmonds: that's from the scene when dr. no has asked bond and honey to his dinner table. >> dr. no: take her away. >> simmonds: dr. no's henchmen start manhandling honey. >> honey: no! >> simmonds: and bond comes to her aid, and the only weapon at hand is the champagne bottle on the dining room table. dr. no says, "don't, please don't, it's a dom perignon 1955." and bond, being bond, says... >> connery: i prefer the '53 myself. >> simmonds: it is a real bottle. >> cooper: it is, really? >> simmonds: yes. there you go. >> cooper: that's the booby- trapped briefcase sean connery used in "from russia with love" in 1963. ( explosion ) we saw "jaws'" deadly dentures... wow. >> simmonds: those are jaws' teeth. >> cooper: ...the golden gun from "the man with the golden gun," and perhaps the most famous piece of bond memorabilia-- the deadly hat

worn by the henchman oddjob in 1964's "goldfinger." >> simmonds: this was one of a few that they used. >> cooper: that's cool. >> simmonds: yeah. this one has... you can see the blades, and it's weighted. >> cooper: so there is actually a metal rim to this? >> simmonds: yeah, and it's used in the final scene when it gets stuck in the bars, and then when he goes to retrieve it, bond manages to electrocute him. >> cooper: how much is something like this worth? >> simmonds: it's about £62,000. >> cooper: wow, that's about a $100,000 hat. >> simmonds: that's right, yeah. >> cooper: so i shouldn't throw it across the room? >> simmonds: no, please don't. ( laughter ) >> cooper: not far away, parked on goldfinger avenue at pinewood studios, where nearly all of the 007 films have been made, we found james bond's aston martin. on screen, it was outfitted with machine guns, tire slashing hubcaps, and an ejector seat for those unwanted passengers.

a secret agent's dream, but for the broccolis, it's also a business opportunity, perhaps the most successful product placement in film. sean connery started driving this model aston martin in 1964. since then, it's shown up in five other bond films. there's no doubt 007 has done a lot for aston martin's brand. and these days, there are plenty of other companies eager to get their products into his hands. >> "q": bmw... >> cooper: after the z3 roadster appeared in 1995's "goldeneye," sales of the car skyrocketed. barbara broccoli and michael wilson told us companies don't pay to be placed in a bond film, but agree to spend millions marketing the movies. heineken, 007's beer of choice in "skyfall," is spending $75 million on a worldwide ad campaign. getting sponsors on board with bond has been easy, but convincing daniel craig to take on the role of 007 wasn't. when he was offered the part... >> craig: i said, "no." i said, "thanks very much.

you need to go away and find the right person." it was going to be a life- changing thing if i said yes. >> cooper: life changing-- how so? >> craig: it was going to change everything, change how i was perceived in the world, and i suppose i was incredibly nervous about that. >> cooper: was part of the concern that, you know, though you were well known before, this is a global thing? >> craig: yeah, and also because everybody says, "oh, well, you're going to get typecast." that's true. i'm forever going to be known as james bond, but that's no bad thing. not a bad label to have. >> cooper: craig finally accepted the role after nearly two years. when he was introduced as the newest 007, some fans complained he was too short and too blond to be bond. but once filming began on "casino royale," barbara broccoli was convinced the critics would be proven wrong. >> broccoli: he was just electrifying. we knew what we had, and so... >> cooper: are you talking about the scene where he gets out of the water in the bathing suit? >> broccoli: well, yeah, how did you know that was what i was thinking about? ( laughter ) >> cooper: bathing suit aside, craig plays bond like fleming

wrote him-- dark, flawed, very human. in a scene taken right from the pages of "casino royale," bond is tied down to a chair and brutally beaten. when you go back to the ian fleming books, i mean, he's basically a guy who gets tortured a lot. and that's what happens to you, it seems, a lot. >> craig: yeah, i mean, he is tortured... he gets tortured and is tortured. you know, fleming has a love/hate relationship with him, and wants to kill him off all the time, but that's kind of part of the whole deal. >> cooper: but there's a danger to your bond that, you know, roger moore didn't have. >> craig: look, if i could play it like roger moore, i would. it'd be a lot easier on my limbs. >> cooper: but no matter who's playing him, what man doesn't secretly, or not so secretly... >> joss skatto: i'll give you this gun. >> cooper: ...want to be james bond? >> skatto: this is the walther ppk. >> cooper: that's bond's signature gun. >> skatto: both eyes open. >> cooper: okay. and at this firing range, joss skatto taught daniel craig and pierce brosnan how to shoot like james bond. >> skatto: you don't hold it like a bunch of flowers.

>> cooper: he tried to show me. >> skatto: move the top part of your body, hips upwards, that's the way. this arm's going to be straight. that's the stance you're going to be doing. and go. ( gunshots ) a bit more aggressive on this one. ( gunshots ) very nice. >> cooper: i don't feel like james bond yet. >> skatto: you will do. about 15 minutes. ( laughs ) >> cooper: oh, yeah, that's all it takes, 15 minutes? >> skatto: no. ( laughs ) >> cooper: that is the part of the fantasy, i think, the appeal of this character is that people want to be... guys want to be him. >> craig: but i want to see sides to him. i want to see a kind of... i want to see a fallibility about the character because, you know, he's an assassin. he kills people. >> cooper: daniel craig has breathed new life into the series, with his three films to date earning record highs for the franchise. as for his most recent adventure, "skyfall"-- known in production as "bond 23"-- before it was even out, there was talk of "bond 24," but barbara broccoli and michael wilson, the guardians of the franchise, aren't giving up any of its

secrets. where does bond go from here? i mean, he's sort of done it all. >> wilson: that statement could have been made 20 years ago and been just as valid as it is today. >> cooper: how much longer do you think you can keep on going? >> broccoli: as long as audiences want to come see the movies, we'll make them. >> go to 60minutesovertime.com to see what's it like to be bond for a day. sponsored by pfizer. [ female announcer ] it's simple physics... a body at rest tends to stay at rest... while a body in motion tends to stay in motion. staying active can actually ease arthritis symptoms. but if you have arthritis, staying active can be difficult. prescription celebrex can help relieve arthritis pain so your body can stay in motion. because just one 200mg celebrex a day can provide 24 hour relief for many with arthritis pain and inflammation. plus, in clinical studies, celebrex is proven to improve daily physical function

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