750i to put the steering wheel on the back seat. The car chase sequence with the 750i took three weeks to film, with Brent Cross car park being used to simulate Hamburg, although the final leap was filmed on location. A stunt involving setting fire to three vehicles produced more smoke than anticipated, causing a member of the public to call the fire brigade. The upwards camera angle filming the HALO jump created the illusion of having the stuntman opening its parachute close to the water. Spottiswoode did not return to direct the next film; he said the producers asked him, but he was too tired. Brosnan and Hatcher were reported to have feuded briefly during filming due to her arriving late onto the set one day. The matter was quickly resolved, though, and Brosnan apologised to Hatcher after realising she was pregnant and was late for that reason. Tomorrow Never Dies marked the first appearance of the Walther P99 as Bond's pistol. It replaced the Walther PPK that the character had carried in every Eon Bond film since Dr. No in 1962, with the exception of Moonraker in which Bond was not seen with a pistol. Walther wanted to debut its new firearm in a Bond film, which had been one of its most visible endorsers. Previously, the P5 was introduced in Octopussy. Bond would use the P99 until Daniel Craig reverted to the PPK as 007 in Quantum of Solace in 2008. Music Prolific composer John Barry was in talks to return to the James Bond films for the first time in a decade but could not reach an agreement over his salary, according to his then-agent Richard Kraft. Barbara Broccoli subsequently chose David Arnold to score Tomorrow Never Dies on a recommendation from Barry. Arnold had come to Barry's attention through his successful cover interpretations in Shaken and Stirred: The David Arnold James Bond Project, which featured major artists performing the former James Bond title songs in new arrangements. Arnold said that his score aimed for "a classic sound but [with] a modern approach", combining techno music with a recognisably Barry-inspired "classic Bond" sound—notably Arnold borrowed from Barry's score for From Russia with Love. The score was done across a period of six months, with Arnold writing music and revising previous pieces as he received edited footage of the film. The music for the indoor car chase