As you might have heard, this 21st Bond film is based, not at dear old Pinewood Studios, but here in Prague - the capital city of the Czech Republic, a cultural jewel of central Europe and home to some of the world's finest beers.

There are probably all sorts of sound financial reasons for being here but speaking as one who is still having trouble working out an exchange rate for Czech crowns, one of the main advantages of stepping out of the comfortable environment of Pinewood is the fresh feel it gives to this very different Bond film. I wouldn't want to give the impression we have abandoned the UK - there's a production office at Pinewood, crucial scenes to be shot on the 007 stage and a long sequence at a British airfield - but starting in this new atmosphere has certainly made us all re-think our take on the series.

Some things are familiar from previous production starts, like the "beginning of term" feel - finding our new offices, seeing old friends, making new ones. And of course, to continue the school theme, we have a new head boy in Daniel Craig. On the eve of shooting, his gruelling schedule of preparation has him down most days with the stunt team at their Modrany Studios set-up. We're working out of two studios in Prague - Barrandov, our home - and Modrany, a converted steel works which provides some of our stages and areas for the departments to work in. "Converted" is perhaps misleading, the emphasis is still on utilitarianism and it wouldn't be the most attractive of places to spend time. If you're planning a visit to Prague I would still put the Charles Bridge on your itinerary ahead of Modrany Studios. But its practical air, enhanced with a coating of snow, suits the serious approach that the film-makers are taking to this project.

In shed number 9, stunt co-ordinator Gary Powell is finding out what his new star can do. Gary, like many, is an old Bond hand. Now on his fourth Bond film, you'll have seen him driving the St Petersberg tank in GOLDENEYE and doing the barrel roll in the jet boat for the opening sequence of THE WORLD IS NOT ENOUGH.

Like the rest of us, he is enthused by the script and is working with Daniel on an approach to the action that will suit the story. On the Bond films, there is a tradition of doing as much as possible for real. So, as Daniel points out, the best way of getting a high-energy action sequence to look right is to do it at the real speed.

"I think it's the only way to inject the pace of the movie. If you film the pace then you know nine times out ten that's what's going to show on screen, so I don't think we had much choice"

And the results? Well, my next report will be from Day One of shooting.

Until next time.

Yarborough.