'It looked effortless on 審査する... but it took THREE of us to get her dress off!': After 取り組むing man-eating crocodiles, filming love scenes should be 平易な for Roger Moore... if only, wrote 007 星／主役にする in his typically witty 社債 Diaries

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Today is B-day 36 ― the 36th day of filming my first James 社債 movie, Live And Let Die.

I am half-asleep as we 運動 to our new 場所 ― a crocodile safari farm in Jamaica. I soon wake up when our car passes a 調印する that says: 'Trespassers will be Eaten.'

That is not a bluff ― somewhere の中で the スピードを出す／記録につける-like 集まり of crocodiles in the 押し寄せる／沼地 is Bongus, a 13ft-long 1,500-pounder who once ate four fishermen.

Today is B-day 36 ― the 36th day of filming my first James 社債 movie, Live And Let Die

The farm is run by the amazing Ross Kananga. He has more than 1,300 crocodiles and alligators and a unique ability to 説得する them to him by imitating their mating calls. Although his father, a crocodile レスラー, was killed by the creatures, Ross still 持つ／拘留するs them in some bewildering form of affection.

One of the film 部隊 asks Ross how he can tell the difference between the males and the 女性（の）s. He replies: 'Oh, that's 平易な. The girls have such pre tty, petite 直面するs.'

Ross has lent his surname to Live And Let Die. Tom Mankiewicz, the scriptwriter, liked the sound of the 指名する Kananga and has called one of our characters Dr Kananga after him.

Joining us for the first time in this far-from-jolly 場所 today is Julius Harris who plays Tee Hee , the 冷気／寒がらせるing 激しい who has a steel snipping claw on his 人工的な arm.

Today's scene is where 社債 is in 捕らわれた and introduced to the crocodiles by Tee Hee, who is casually feeding them chicken with this gadget.

Julius and I watch, sweating and waiting on jelly 膝s as Ross 召喚するs the beasts with his special call. As the crocs slither around, my 同僚 struggles manfully to claw up the chicken and fling it at their snapping jaws.

Today's scene is where 社債 is in 捕らわれた and introduced to the crocodiles by Tee Hee, who is casually feeding them chicken with this gadget

One piece sticks to his hook and a croc seems to have its 注目する，もくろむ on it, 原因（となる）ing Julius to 支援する away somewhat smartly; then another piece of chicken 落ちるs to his feet unnoticed by us ― but not by an 8ft croc, which is torpedoing に向かって us to get it until someone kicks the grisly lump of meat into the 押し寄せる／沼地 in the nick of time.

Rather to our 救済, Harry Sa ltzman, the co-生産者, says that tomorrow the main 部隊, 含むing me, will switch to the bus chase sequence, while the second 部隊 stays to get painstaking 発射s of the crocs crunching their chicken.

B-Day 38. At this 行う／開催する／段階 in the 陰謀（を企てる）, 社債 becomes a bus driver. I jump into the 運動ing seat, Jane Seymour ― who plays Solitaire ― clambers 船内に, and we use it to escape from 追求するing police. This bus, shipped over from London, is a normal 二塁打-decker that has spent the best years of its life on the No 19 run.

In 準備 for the scene in which it whizzes under a low 橋（渡しをする）, the upper deck has been 削減（する） away and placed on rollers so that when the 衝突，墜落 comes it will shoot spectacularly backwards, leaving 社債 and Solitaire in the 底（に届く） half.

In 告発（する），告訴（する）／料金 of the bus and here to teach me how to 扱う it is Maurice Patchett, a London 輸送（する） 運動ing 指導者 who has flown in 特に.

Rather to our 救済, Harry Saltzman, the co-生産者, says that tomorrow the main 部隊, 含むing me, will switch to the bus chase sequence

B-Day 39. A slow day. It looks as if we might all be stuck here for Christmas ― 成果／努力s to 借り切る／憲章 a 計画（する） 支援する to Britain for December have 攻撃する，衝突する trouble. I would not be too 乱すd by the thought as my family is with me, but there would be a 反乱 の中で the film 乗組員 who would 行方不明になる their wives, children and Christmas 元気づける.

B-Day 40. If I never land another film 役割, I can always get a 職業 on the buses. To qualify as a London bus driver takes ten days' 指示／教授／教育, and Maurice says that I am doing very nicely indeed.

The cab of a London bus is 十分な of gadgets. Maurice is 特に careful to explain the 機能（する）／行事 of a small red 旗 that 減少（する）s 負かす／撃墜する in an 緊急.

'When you see that,' he 警告するs, 'put your foot 負かす／撃墜する on the ブレーキ and don't 解除する it off again because you don't get a second chance. It means your ブレーキs have gone.'

For the first 発射, I have to 運動 the bus 急速な／放蕩な for 20ft to where an electrician stands in the road with sun reflector boards to get the proper lighting 影響.

The boards are striking the sun 権利 into my 注目する，もくろむs and, as I take off as 急速な／放蕩な as I can, it is difficult to see where to stop. I do it four times, each time getting a little faster, so the electricians with the reflector boards are 味方する-stepping more 速く each time.

On the last take, I 攻撃する，衝突する the ブレーキ and 負かす／撃墜する comes the red 旗; I keep my foot 負かす／撃墜する hard and pull on the handbrake. If Maurice hadn't told me about it, there would have been one electrician as flat as his reflector board, under an AEC Regent London bus.

Amazingly, we get the 発射s we want, and first time. A tremendous end to B-Day 40.

B-Day 47. 解雇する／砲火／射撃 and 1,300 ferocious crocodiles make this a day to remember , and I am lucky to have lost no more than the hair on my 手渡すs and 武器.

We shoot the scene where 社債, encircled by crocodiles, escapes from the island 近づく a shed where the villains' 労働者s are packing ヘロイン. 社債 surrounds it with benzene-soaked rags and rubber, and lays a 追跡する of chicken pieces from the 押し寄せる／沼地 to the shed door.

An alligator slithers from the 押し寄せる／沼地, follows the 追跡する through a gate and inside the shed. We see 労働者s 宙返り／暴落するing over each other to get out of the door on the other 味方する, but 社債 has lit the rags and （犯罪の）一味d the building in 炎上s.

To escape from the island, 社債 makes a death-反抗するing leap over the crocodile-infested water. I am glad we get this 発射 in the can quickly because I must 自白する my '瓶／封じ込める' is twitching.

'瓶／封じ込める', for those unfamiliar with rhyming slang, is short for '瓶／封じ込める and glass', which rhymes with what was twitching.

We are moving 支援する to Britain, where most of the 残り／休憩（する） of the film will be 発射 at Pinewood Studios, not far from my home

When it comes to the 燃やすing building, our special 影響s have a field day. The shed is circled in a sheet of 解雇する／砲火／射撃, and before I can dodge 支援する the licking 炎上s have singed all the hair off my 手渡すs and 武器.

However, the whole thing goes beautifully, and our 星／主役にする alligator, Daisy, はうs on cue through the gate and into the hut.

Ross has had Daisy since she was eight, and she is now 30. From the moment he saw the Live And Let Die script, Ross trained her to walk up the bank at a 確かな 位置／汚点／見つけ出す, choosing a nice, shady place she fancied, and fed her there.

When Daisy was familiar with her walk, the construction team then moved in and built the hut at the end of it. Daisy is やめる a 堅い lady; she is the alligator who killed two crocodiles and duffed up three more, losing half her teeth in the 衝突, which upset Ross because she is ありそうもない to grow any more.

本人自身で, I 自白する that I am not at all perturbed.

B-Day 49. We are moving 支援する to Britain, where most of the 残り／休憩（する） of the film will be 発射 at Pinewood Studios, not far from my home.

After a lot of transatlantic telephone talking, a DC-10 借り切る／憲章 flight for England has been 直す／買収する，八百長をするd for December 20, and before then we must have a （疑いを）晴らす day to pack our ten トンs of 器具／備品, 加える personal 所持品 and の近くに the offices.

It's hard to believe it's nearly Christmas. The children are looking 今後 to going home to the pony and the dog; I am looking 今後 to Sunday papers, English marmalade, frosty mornings and seeing my mother and father.

B-Day 58. My big love scene with Jane. にもかかわらず the fact that her father-in-法律, Richard Attenborough, is one of my best friends, and her husband, Michael, has had dinner at our house, it is s till an enjoyable experience, even if she is wearing 厚い tights and knickers under her flimsy negligee!

It reminds me of something Joan Collins said when she visited us for lunch on Sunday with her husband, Ron Kass. Doing a love scene with a 主要な man she detested, she 武装した herself with tights and the heaviest pair of football socks that she could find. Jane, cuddling a hot water 瓶／封じ込める between takes, complains of the 冷淡な, but stoically reminds herself that it is all in a good 原因（となる）.

B-Day 59. I get out of bed, do my work-out, have a にわか雨, shave, 小衝突 my teeth, get dressed, eat my breakfast of 緊急発進するd eggs, get into the car, 運動 to the studio, take my 着せる／賦与するs off, and get 支援する into bed with Jane Seymour. It's a hell of a way to earn a living!

B-Day 64. We are having 演劇s with the premi?re date because the Duke of Edinburgh won't be 利用できる, nor will Princess Anne, nor Prince Charles, who is at sea with the 王室の 海軍. It looks like the date will have to be changed.

B-Day 66 and I have spent a romantic 週末 in Paris with my wife Luisa after an 早期に 包む on Friday.

The 週末 isn't all 楽しみ, though. Co-生産者 Harry Saltzman asks me if I will visit the Crazy Horse cabaret, and look the girls over for a likely lass to play a scene in the picture that calls for a busty beauty.

Ever 充てるd to 義務, I stoically sit through two hours of striptease, and Luisa kindly comes along, too.

I pass my opinion to Harry and tell him that, if really necessary, I will go 支援する and have another look with him.

Oh, the 重荷（を負わせる）s of 社債!

We are having 演劇s with the premi?re date because the Duke of Edinburgh won't be 利用できる, nor will Princess Anne, nor Prince Charles, who is at sea with the 王室の 海軍

Brenda Arnau, who was such a success on the London 行う／開催する／段階 in Oh! Calcutta!, appears in the movie as a club singer 成し遂げるing the Live And Let Die 肩書を与える song.

Paul McCARTNEY has written it, and I have lunch today with the man who is arranging it, George ツバメ. It is a tremendous piece of music, and I will stick my neck out and say that three weeks from its 解放（する） it will be No. 1.

B-Day 75 is the day I bed my third 社債 girl: a lovely Italian secret スパイ／執行官 played by the voluptuous Madeline Smith. Our pillow 任命 is in a bed in 社債's London mews ― in other words an elegantly furnished construction on 'B' 行う／開催する／段階 at Pinewood.

First-time 訪問者s to a film studio are alwa ys struck by the fact that 始める，決めるs built for 内部の 発射s rarely have roofs, so that light can 炎 in from above. As a result, Madeline and I are exposed to 氷点の draughts, and the bed is icy.

支え（る）s have not 供給するd hot water 瓶／封じ込めるs, no 疑問 taking the 見解（をとる） that anyone in bed with Madeline will find them superfluous. I bound and 回復する in and out of bed all morning, my feet 氷点の with every leap.

It would （名声などを）汚す 社債's image to wear woolly socks, and I envy Madeline, who, though 明らかにする from the waist up, can slide under the bed 着せる／賦与するs; she squeals every time my 冷淡な feet touch her 膝s.

At this point in the story, 行方不明になる Moneypenny ― the 長官 of secret service boss M ― has 配達するd to 社債 an intriguing 磁石の watch.

During the preamble to the 遭遇（する） in bed, James embraces the signorina, then, 持つ／拘留するing the watch magnet 近づく the 支援する zip on her dress, draws his wrist 負かす／撃墜する her spine without touching her.

The metal zip 答える／応じるs and the dress 落ちるs to the 床に打ち倒す.

'What a gentle touch you have, James,' she whispers.

'Sheer magnetism,' I reply.

It may seem money for jam 存在 圧力（をかける）d の近くに to the beautiful Madeline, but on the 20th take, your arm is aching, you've got cramp in your left foot and your 権利 膝 is going to sleep.

Part of the trouble is that Madeline's dress just will not 落ちる far enough 負かす／撃墜する. 衣装 designer Julie Harris has to go on her 膝s off camera and gently pull the dress 負かす／撃墜する.

As t he watch isn't really 磁石の, assistant director Derek Cracknell, 愛称d Crackers, is also on his 膝s with his 手渡すs up Madeline's skirt, pulling a hidden wire 大（公）使館員d to the zip ― so the 床に打ち倒す around our feet is starting to get pretty （人が）群がるd.

When I arrive home, the children ask me, as they always do: 'What did you do today, Daddy?'

I'm not やめる sure what to tell them. I can hardly say: 'I was in bed with a lady this morning, and I made 20 試みる／企てるs to take her dress off this afternoon.'

After so many months, it is a 使い果たすd （人が）群がる that 飛行機で行くs 支援する to New York to 完全にする the final scenes ― it has even crossed my mind that the 生産者s are trying to get out of 支払う／賃金ing me by having me bumped off in the car chase scenes on Franklin D. Roosevelt 運動 expressway.

Be that as it may, I am still not ready for the phone call that comes on the evening of B-Day 84.

It is Crackers, 説 with qualifying 警告を与える learned from years in the picture 商売／仕事: 'All 存在 equal, that is, if the 急ぐs are okayed tomorrow afternoon from London, you are finished on the picture.'

This is it, then. The party is over. I feel a terrible sense of anti-最高潮. Numbed, I mix myself a very stiff drink.

Luisa and I are leaving for California; 社債 co-生産者 Cubby Broccoli and his wife Dana have kindly 貸付金d us their house in Beverly Hills, Hollywood, where I have been asked to 現在の the Oscar for 'Best Actor'.

Without wishing to sound too 同志／支持者, I hope I 手渡す it to my mate, Michael Caine, 指名するd for his 業績／成果 in Sleuth.

Later, Joan Collins and husband Ron Kass are bringing our children to join us at the Acapulco house of English songwriter Leslie Bricusse and his wife Evie, where I will recuperate from the rigours of Bo nd.

After jetting the bayous in boats, whizzing around in a wingless 計画（する）, 法廷，裁判所ing bites by crocodiles, and 衝突，墜落ing cars, I will always wryly 解任する my last line in Live And Let Die. 配達するd to the driver on the Franklin D. Roosevelt 運動 expressway, it is: '平易な, Charlie, let's get there in one piece.'

Give or take a tooth, I have.

• Adapted from The 007 Diaries: Filming Live And Let Die by Sir Roger Moore, published by The History 圧力（をかける） on June 1 at £14.99. ? Roger Moore 2018. To order a copy for £11.24 (申し込む／申し出 valid to June 7, 2018), visit mailshop.co.uk/調書をとる／予約するs or call 0844 571 0640. P&P 解放する／自由な on orders over £15.?