Gary Powell, the stunt co-ordinator, inspects the camera positions before crouching out of shot. Mendes grasps the radio: "Action!" It feels like sacrilege, but I rev the nuts off the ageing six-cylinder engine and dump the clutch. Tyres squeal in protest and we rocket into the alley. The brick wall fills the windscreen until I swing the boat-like wooden wheel to the right and the suspension gracefully leans to make the turn.
For the next shot it's pitch black and the Aston's lights throw only a hazy glow on the road. Naturally I'd prefer not to reshape the DB5 in front of the director, but it's a Bond movie, so you go large or go home.
I make it to third gear, the brakes sing. I snatch second and we skid into the black abyss of the archway. The wheelspin echoes around the walls as the DB5 leaps the speed humps and we exit frame. I love this car.
Next stop is Adana, Turkey. For three months this will be home and we sink into a six-day working week.
On set, the special-effects team peels the covers off a Land Rover Defender with a pod system mounted on the roof so that I can drive it while the actors ride below. All the functions of steering, changing gear, braking and accelerating are diverted upstairs so that I can operate the vehicle without being seen by the camera. All that weight on the roof makes the pod top-heavy, so we prove the system won't roll over by exploring its limits.
Eve, played by Naomie Harris, is the character driving the Land Rover. Her first scene involves her racing through Istanbul to keep up with Bond. The ensuing carnage results in a truck flipping directly into her path. The truck and the Defender have to navigate through traffic at precise speeds in order to meet at their impact point. Arrive too early and the camera misses the shot. Arrive too late and ... crunch. We have about six spare Land Rovers and back-up trucks.
Using a stopwatch, we measure the runs and set out fixed start points. On "action!" the hill springs to life as stunt pedestrians meander up the pavement and the vehicles gun their engines. The Defender snakes through the traffic. Moments later, the red cab of the truck looms over the bridge just as our vehicle squeezes into position alongside.
The truck rams its target and rolls, casting a shadow over the passing Defender. The truck slams into the deck and spews its cargo. Stuntman Powel eyes the camera feed and comments, "It doesn't get any closer than that."
Craig commands the Bond character with aplomb in Skyfall, increasingly at ease with the wild scenarios thrown his way. When the shades come off, his cool reserve brightens as he climbs aboard the Defender for the motoring equivalent of a toboggan track: a vertical cobbled lane in the downtrodden district of Belat. Here Eve is in hot pursuit of Patrice (Ola Rapace) in his Audi A5. There are twists and turns, stuff blowing up, cars getting in the way and, to keep up with the Audi, my foot is welded to the throttle stop.
To help me react to their acting cues, I can hear Craig and Harris through my earpiece. They know this, so prior to launch, Craig hums the Chitty Chitty Bang Bang tune to wind me up.
On "action" the Audi shoots off and I'm grateful for the modifications made to enhance the Land Rover's engine. The rough cobbles shake the hydraulic steering, affecting the wheel alignment. I chase the wheel to compensate.
We quickly reach the bottom for a sharp corner, a big compression and a sudden stop. It's our first hard run and there's silence downstairs, broken by some chuckling from Craig. You can hear the adrenalin in Harris' voice: "Oh ... my ... God." Mendes simply says, "Good one, we don't need it any faster."
Bond has certainly changed since my favourite, A View to a Kill, but arguably the stunts are as memorable and iconic as ever. Especially when you know they are performed for real.
Skyfall is in cinemas now.
