How Does James Bond Spend Christmas?

 

Some days ago, Pierce Brosnan was asked by a Times journalist about 007's Christmas plans. His answer: “Why would I waste my time thinking about where James Bond would be at Christmas? [...] But I know where Pierce Brosnan’s going to be spending Christmas! At home with my wife, in my little island retreat in Hawaii!”

No offense taken. I guess we can all imagine Pierce's relaxed, humorous tone when refusing to answer more than one Bond-related question. After all, we know Sean got markedly tired of the role that gave him international fame... and yet his mind never planned something as vile as having the character humiliated over almost three insufferable hours before wiping himself out of earthly existence. And even if he did, people like Cubby, Harry or McClory were professionals and understood that Bond never dies.

Leaving this behind us, let’s answer the question for the gentleman: how does Bond spend Christmas? Two films and a novel provide the answer.

The quintessential Christmas Bond adventure is, undoubtedly, On Her Majesty’s Secret Service. Both the 1963 novel and the 1969 film take place during this festive season. The action develops more or less in a similar way, with 007 losing his Sir Hilary Bray cover and escaping from Piz Gloria. The book has an interesting passage where Bond, pursued by Blofeld’s goons, reaches the village and sees people celebrating something. It is at this point that he remembers it is Christmas. The movie even features “Do You Know How Christmas Trees Are Grown?”, composed by John Barry specifically for the film, with lyrics by Hal David and performed by Nina.

If you don’t feel like toasting at midnight after Tracy gets shot, we have the second Christmas Bond film, The World Is Not Enough.

The festive vibes are subtler here, but in many ways the film encapsulates a unique festive season — the (socially perceived) end of the millennium. A character named Christmas, the Millennium Dome built to celebrate the arrival of 2000, Bond toasting with Dr Jones with fireworks behind them, and the release date of the film — don’t forget that while the US and the UK got it in November, many territories like Latin America or even Europe had the film in December, some even on Christmas Day. I covered some of these subjects in The Bond of the Millennium.

As mentioned before, The World Is Not Enough has Bond celebrating Christmas with Christmas in Turkey, with drinks, fireworks and a sublime, melancholic David Arnold tune. The very last scene of the film has them making love as red and green lights are projected over their bodies, too.

Now, do you want to know how he spends New Year’s Eve? Well, pretty much in the same way. We can see it in the console version of the Nightfire video game, where Bond covers the getaway of DGSE agent Dominique Paradis using a sniper rifle before getting into his Aston Martin Vanquish and averting a truck filled with explosives meant to attack the Eiffel Tower minutes before midnight. With the attack foiled, 007 and Dominique toast as they watch the fireworks over the Seine.

As a side note, we presume this is the beginning of 2003 they were celebrating — Bond’s imprisonment in North Korea took place in 2001, the 9/11 attacks came as he was in captivity, he was freed sometime in 2002, when the main events of Die Another Day took place and he was introduced to the Vanquish… and by December of that year, the Paris Prelude mission of Nightfire took place. This is pure guesswork, mind you.

James Bond is an enforcer working for the British Secret Service who defends the civilized world. He knows no weekends or holidays. Therefore, if duty calls, he will spend Christmas or New Year’s Eve saving the world in some form. Or, if the world isn’t threatened, he may celebrate it with some female companion or in some kind of event — think of the celebration offered by the Governor of The Bahamas  in Quantum of Solace, for example.

But relaxing when the world is at risk is not an option for him. I’ll never understand why some people think of Bond as a villain, let alone agree with the abasement of his whole personality under the category of “an assassin”. Fleming may have said he didn’t expect him to be likeable, but that’s a long way from evil. Think about it: how many times did you refuse to give a penny to the beggar in front of the church? How many times did you refuse to help someone if he didn’t give you something in return? Bond is a guy who risks his life every day for people who even ignore his existence. He even serves a country that could ditch him if politics get involved, as it happened in Die Another Day, when the NSA pressured MI6 to cast him aside. The SMERSH dossier on him stressed that he’s not bribable, which means that even if he gets paid by the government, money is not a motivation for him — think of how many times you stopped working when your time was due on a Friday, or how many times you protested because you didn’t have a raise.

That said, I give you my very best wishes. May this Christmas be like the glorious Christmases of 1995, 1997, 1999 and 2002, when cool Bond goodies were waiting for you under the tree. Here you can find a couple more.

Bond, Brosnan and the Birth of DVD

 

Just as GoldenEye arrived in theatres, a revolutionary new home-video format emerged: the Digital Versatile Disc. By now, it’s almost unnecessary to spell out how dramatic an upgrade DVD was over VHS or even Laserdisc. What matters here is that, for obvious reasons, it was the Pierce Brosnan–era films that planted James Bond’s flag in this new and interesting territory. Let’s take a look at the various releases.

First Editions (1997–1998)

In March 1997, GoldenEye became the first Bond film to receive a DVD release in North America, months after coming out on VHS and Laserdisc to great success. Along with Martin Campbell’s film, the first three 007 adventures starring Sean Connery — Dr. No, From Russia with Love and Goldfinger — were also released.

As you might expect, there was little additional content in this first wave of titles. Still, the ability to jump directly to a scene, change language or subtitle tracks, or watch the film’s trailer was enough to enjoy the new format — and that’s without even counting the leap in image and sound quality.

GoldenEye was presented in a clipcase cardboard box with a scene selection index and the disc. Viewers could choose between a 4:3 Pan & Scan format to fill their tube TV screen or the now-standard 16:9 widescreen presentation. As soon as the disc was inserted, you were prompted to set up your desired screen format and audio output before the movie started automatically. To access the menu, you had to press the menu button on your controller.

The GoldenEye menu, based on the film’s main titles, was static. Interestingly, the menus of the other three films featured a brief animation and a few very tame extras. Options were basic: play the movie, scene selection, language options and the theatrical trailer. The film was available in English, French and Spanish, with subtitles and closed captions in the same languages.

Throughout 1998, Latin America and Japan released their own versions of these four Bond films. As far as I know, however, only GoldenEye received this type of release in Brazil, Argentina and other Latin American countries.

In late 1998, this standard version of the GoldenEye DVD was manufactured in Europe. The film came in either a regular plastic clamshell case or a wider CD-style jewel case. It also included an eight-page booklet with production notes and a scene index. Unlike the US version, the European release presented the film exclusively in widescreen and included an audio commentary by Michael G. Wilson and Martin Campbell, lifted from the US Laserdisc release. Depending on the region, available languages included English, French, Spanish, Italian or German.

Tomorrow Never Dies premiered theatrically in December 1997. Five months later, it arrived on VHS, Laserdisc and DVD. As expected, the May 1998 North American DVD release was very basic: a menu with the usual four options and the movie presented in either widescreen or full-screen versions. A booklet with production notes was also included. With this release, two Roger Moore adventures — The Spy Who Loved Me and Moonraker — also made their DVD debut.

Much like GoldenEye, a version of the initial US DVD was prepared for the European market. It was widescreen-only and featured an audio commentary with Michael G. Wilson and second-unit director Vic Armstrong. Menus were animated in the US version and static in the European releases.

Special Edition (1998–2003)

Both GoldenEye and Tomorrow Never Dies sold incredibly well on DVD. Brosnan’s second 007 adventure shipped over 170,000 copies to video retailers and performed superbly in the rental market. These numbers convinced MGM Home Entertainment to push the envelope and produce an extra-laden Special Edition DVD of Tomorrow Never Dies, released in North America in November 1998.

The cover featured the film’s logo over a metal-effect silver background. The making-of booklet celebrated 35 years of Bond films and included a list of gadgets, villains and Bond girls appearing in each EON-produced adventure.

Instead of simple background animations, the interactive menus — designed by 1K Studio — used an interface inspired by Bond’s cellphone, guiding viewers through the disc’s many options. Extras included two audio commentaries (Michael G. Wilson/Vic Armstrong and Roger Spottiswoode/Dan Petrie Jr.), a short special effects reel, storyboard-to-film comparisons, an isolated music track, the made-for-TV documentary The Secrets of 007, two trailers and Sheryl Crow’s music video.

Unsurprisingly, MGM Home Interactive hit the jackpot with this release. As the theatrical debut of The World Is Not Enough approached in late 1999, the first wave of James Bond Special Edition DVDs reached stores. This gift set included Goldfinger, Thunderball, Live and Let Die, For Your Eyes Only, Licence to Kill, GoldenEye, and a reissue of the Tomorrow Never Dies Special Edition, now sporting key artwork consistent with the rest of the line. The first six films also included a trailer for the Tomorrow Never Dies PlayStation game, coinciding with its November 1999 release.

This new Special Edition of GoldenEye added most of the content previously exclusive to the US Laserdisc, including The World of 007 documentary hosted by Elizabeth Hurley. A new making-of booklet was also issued, containing far more information than those found in the standard European editions. The only omission was the Spanish audio track and subtitles, presumably due to disc space limitations. All Special Edition DVDs were presented in widescreen.

Throughout 2000, the remainder of the Bond catalogue received the Special Edition treatment in the US. European editions followed between 2000 and 2001, with spines designed to form a “007” logo when arranged in chronological order (the US releases used individual spine designs). North American discs generally included English, French and/or Spanish language options, while European releases varied by region. Depending on the title, menus could closely resemble — or differ radically from — their US counterparts.

The World Is Not Enough was released on Special Edition DVD on May 16, 2000, coinciding with Pierce Brosnan’s 47th birthday. This title is a clear example of radically different menu design. The US version featured a red, pipeline-like interface with minimal music, while the European version used a design based on the film’s main titles, accompanied by David Arnold’s end-credits rendition of the Bond theme blasting through the speakers.

The extras also differed significantly. The European release included several additional features absent from the US version, such as the PS1 game trailer, the James Bond Down River and The Bond Cocktail documentaries, and a short tribute video to the late Desmond Llewelyn originally produced for the VHS release. The European edition also retained all the US extras: The Making of The World Is Not Enough hosted by Leanza Cornett, the theatrical trailer, Garbage’s music video, and two audio commentaries (one with Michael Apted, the other with Peter Lamont, Vic Armstrong and David Arnold).

In Latin America and some European territories, Special Edition DVDs were released in bare-bones configurations, with static menus and the theatrical trailer as the sole extra. In most cases, however, the cover artwork was preserved.

Celebrating the 40th anniversary of the franchise, Die Another Day came out in November 2002. The outcome of the film filled MGM's pockets generously with good numbers both in the US and the UK. MGM Home Interactive went big or went home for the DVD release in 2003: this time, the Special Edition would be a two-disc release. This followed a tradition from many studios that were well aware people consumed extra content of their favorite films and started experimenting with dedicating one disc for the film, and a supplementary disc riddled with additional features. The US Special Edition DVD of Die Another Day came presented on a cardboard slipcase featuring Bond and Jinx over the poster's blue-beam background. The actual sleeve had the regular home video artwork with the two agents surrounded by explosions near the Ice Palace. Disc 1 featured the movie, audio commentaries and a DVD-ROM content which, sadly, is unavailable now due to the links being broken; Disc 2 had an extensive Inside Die Another Day documentary split in many chapters, plus three trailers, many TV spots, Madonna's music video and its making of, multi-angle and storyboard explorations, the trailer for the Nightfire video game along with a short featurette on its development, and much more content than other Special Edition DVDs. In North America, the Die Another Day SE DVD was available in both Widescreen and Full Screen editions, but they had to be bought separately. The European version had the same features, but included two "exclusive" Region 2 documentaries: Shaken And Stirred On Ice and From Script To Screen. Missing was the DVD-ROM feature. In this version, the DVD sleeve was double sided: one side had a spine that could fit into the 007 formed by putting all the Special Editions together. The design of the booklet was also different, although the text was identical.  

Ultimate Edition (2006 onwards)

Sony acquired MGM in April 2005. A little over a year later, in November 2006, the entire James Bond catalogue — from Dr. No to Die Another Day — was released as two-disc Ultimate Edition DVDs. The films were digitally restored by Lowry, promising improved picture quality, though many purists felt the earlier Special Editions were closer to the theatrical color timing.

Some of Lowry’s more controversial choices included extremely saturated red hues in Live and Let Die (particularly noticeable during the gunbarrel and main titles), darkened sunrise scenes (such as Bond rescuing Tracy on the beach in On Her Majesty’s Secret Service or Bond killing Locque in For Your Eyes Only), and cropped framing in A View to a Kill and GoldenEye.

The cover artwork featured wide digital montages of Bond holding a gun, with an action scene from the film in the background. Black-and-white vignettes from the movie appeared at the top and bottom. Depending on the territory, releases included new booklets and different liner notes.

Menus across the range followed a generic design: silhouettes of Bond and Bond girls walking over translucent 3D weapons against a gunbarrel background. Only the music and circular vignette imagery varied by film. The real draw, of course, was the wealth of archival material recovered from the Bond vaults, including the 1965 documentary The Incredible World of James Bond and the 1967 featurette Welcome to Japan, Mr. Bond. Additional content included still galleries, more deleted scenes, never-before-seen material, and textless versions of many Bond main titles. Roger Moore also recorded new audio commentaries for his films. For the most part, the Ultimate Editions carried over the Special Edition extras alongside this newly added content.

Now, let’s take a closer look at the Brosnan era.

GoldenEye: Unfortunately, the image quality was a step down from the Special Edition. The transfer appears too dark and, more importantly, much of the frame was cropped. The main titles have the credits awkwardly centered for this reason; otherwise, the actors’ names would have been cut off.

All of the Special Edition content (with the exception of the Tomorrow Never Dies video game trailer) was moved to disc two. New additions included several documentaries such as GoldenEye: The Secret Files, a couple of deleted scenes, a short feature on Peter Lamont’s location scouting, and a retrospective video covering the film’s press launch event at Leavesden.

Tomorrow Never Dies: There is little to criticize regarding image quality here, and the original burned-in location subtitles were thankfully restored, although some red hues appear slightly pinkish. Once again, all the Special Edition extras were carried over to disc two.

New material included Highly Classified: The World of 007, a documentary previously exclusive to the 1998 VHS collector gift sets, along with deleted scenes, multi-angle explorations and the music video for Moby’s remix of the James Bond Theme.

The World Is Not Enough:  This time around, nearly all of the content from the European Special Edition was moved to disc two, with the notable exception of the PS1 game trailer. As a result, Region 1 viewers were finally able to access documentaries such as James Bond Down River and The Bond Cocktail, as well as the Desmond Llewelyn tribute.

New additions included a look at the Hong Kong press conference, a featurette detailing the making of the teaser trailer (which concludes with the teaser itself), and several deleted scenes.

Die Another Day: This marked the second two-disc DVD release for the 2002 film. So how do you make it more complete? In this case, the answer seemed to be adding some new material while subtracting a significant amount of content from the 2003 Special Edition — and therein lies the problem.

Disc two includes Just Another Day, a promotional documentary originally released on VHS, focusing on the making of Gustav Graves’ parachute jump over Buckingham Palace. Also present are Peter Lamont’s location scouting feature and The British Touch: Bond Arrives in London, which details the marketing tie-in between 007 and British Airways and concludes with a deleted snippet in which Bond leaves his seat before the plane lands. This moment originally preceded a longer deleted scene showing Bond taking an alternative exit to avoid customs control.

From Script to Screen and Shaken and Stirred on Ice were also included on disc two — and that’s essentially it. Missing entirely are the trailers, TV spots, multi-angle explorations, storyboard comparisons, the extensive Inside Die Another Day documentary, as well as Madonna’s music video and its making-of feature. The result is a surprisingly disappointing release, one that effectively forces collectors to track down the 2003 two-disc edition solely for the missing extras.

The Ultimate Edition DVDs were reissued in 2008 with new cover artwork, still in two-disc configurations. These featured a grey background composed of a gunbarrel motif and the 007 logo, overlaid with heavily airbrushed images of Bond and the leading lady, along with a gold band across the center bearing the film’s title.

In 2012 and again in 2015, single-disc versions of the Ultimate Editions were released, containing only the first disc. The 2012 covers were minimalist and heavily airbrushed, yet still visually appealing in most cases. The 2015 editions, by contrast, used rather dull airbrushed screengrabs from the films, paired with a wide white band at the bottom displaying the title in black lettering.

By this point, studios were clearly steering consumers toward Blu-ray, and DVD had become something of an afterthought. As a result, the poorly cropped Ultimate Edition transfer of GoldenEye remains the most readily available version of the film on DVD — unless a future reissue in the format makes use of the far superior 4K transfer currently available for streaming.

I have covered the home video release of the Brosnan Bond films in the Updated Edition of The Bond of The Millennium. You can get the book in Paperback, Kindle and DRM-Free Digital Special Edition at ZOOM Platform.

Pierce Brosnan’s Bond in Cultural Context

Every now and then, you come across people who claim: “Brosnan was a great Bond, but his films had bad scripts.” I couldn’t disagree more. His films balanced entertainment, romance, and drama in just the right measure, without breaking the mould of what a Bond adventure is meant to be.

The villains were human, yet their suffering was never forced on the audience. Just a few words were enough to give them depth without asking for pity: Trevelyan’s Lienz Cossack past, Elektra’s abandonment during her kidnapping, Renard’s terminal condition and need for love. The women were attractive and useful: the much-misjudged Christmas Jones saves 007’s life more than once, and she proves to be cleverer than a room full of security guards in Kazakhstan when “Arkov” chimes in.

The plots were brilliant and engaging overall. They modernized the formula without betraying it, and vividly reflected the eras in which they were released. All in all, I think Brosnan was a great Bond with great films, precisely because the universe is what builds a Bond — not just the actor. He looks the part, has the charm, the ruthlessness, and the way with the ladies… but just like the old adage says, “the clothes make the man,” I believe “the world makes the Bond” — and that world is crafted by many people, not just one.

In the following paragraphs, I’ll leave you with some context regarding each of the four Brosnan adventures and some observations I’ve made. If this interests you, I recommend checking out The Bond of the Millennium, particularly the updated edition from 2023, which greatly expands on these themes.

GoldenEye (1995) deals heavily with post-Cold War insecurities and the relevance of a field operative in a world dominated by technology. Many films released during the first half of the 1990s had a villain with a Soviet past and a situation that could endanger détente (The Hunt for Red October, Terminal Velocity,  Fair Game). Other films underlined the danger that could be caused by the anonymity of the Internet and computers (Hackers, The Net). Both plotlines were combined in GoldenEye, which served as a bridge between the fears of the old world order and the fears of the new world order, with Bond as a catalyst to keep the world safe. The dramatis personae include a sadomasochist femme fatale, a cyberpunk, and two abandoned former spies turned arms dealers. One of these spies is the main villain, once known as agent 006 and a close friend to Bond. Interestingly, this would mark a trend in some action movies like Mission: Impossible, Broken Arrow and The Rock (all released in 1996) whose antagonists are former spies or soldiers who turn against their own nations for reasons ranging from greed to frustration with bureaucracy to a sense of obsolescence in their roles. This archetype contrasts with Bond’s patriotic image, a “loyal terrier” of the British as per Trevelyan’s words. Structurally, the film makes sure that all the boxes are ticked regarding the character’s tradition as a way to reinforce that the old 007 is the antidote to the threats of the new world. The film works as a discreet trial where the protagonist is repeatedly told he is irrelevant and that his attitudes do not work in this world, yet he shows he doesn’t need to change at all to become once again the last hope of a world that rejects him.

Tomorrow Never Dies (1997) brings Bond squarely into the 1990s, and the fears of the Cold War are left behind. The villain’s scheme is a familiar one (pit two superpowers against each other), but the methodology and weapons used are linked to subjects that were hot topics back in the day. These topics include the power and effects of mass media during belligerent conflicts — much had been said about the manipulation of images during the Gulf War. Aesthetically, as The Naked Gun (2025) director Akiva Schaffer noted, the movie adopts a look and feel that reflects that era enormously. Much of the imagery is under-lit, the static palette (blue, green, red) is used frequently, and there is a pronounced debate about the fakery of images: the footage of British marines gunned down by Chinese officers, the relationship between media mogul Elliot Carver and his wife, the cybergirls from the main title sequence (which becomes exuberant as TV screens float in front of them). Even the use of Times New Roman for the location subtitles seems to underline this era marked by Windows 98 and Microsoft Word, at the height of their popularity. Throughout the film, Bond acts as an analog hero who exposes the world of fakery generated by Carver: he cuts the broadcast as the villain delivers a hypocritical speech about the escalating conflict; he seduces the villain’s wife (and Bond’s former lover) only hours after she boasted about her privileged life, revealing that her marriage is nothing more than a fantasy; he tears down a Big Brother–like banner of Carver while escaping from his headquarters; and, finally, he feeds the villain into the very drill he used to sink a British ship, as MI6 reports Carver’s death as “missing, presumed drowned.”

The World Is Not Enough (1999) marks the end of the millennium, and it would be the last Bond film of the century in which he was created. Maybe as a reflection of this, new technologies became somewhat “domestic”: we see Elektra using a laptop in the comfort of her room, rather than inside an office. Christmas uses a palm-print reader to defuse a nuclear bomb. The villains and Bond use Motorola walkie-talkies, and MI6 has its own “Encarta Encyclopedia” at the improvised Scottish castle headquarters. Putting that aside, one of the biggest themes in the story is corporate corruption. Sir Robert King, a respected oil tycoon and personal friend of M, has dealings with the underworld that allowed him to buy a classified file (Bond raises eyebrows at her comment that King is “a man of great integrity”). There is a shady Swiss banker who was connected to that money exchanging hands. Later, his daughter Elektra is intimately connected to an Eastern European terrorist with a high body count, and to an arms dealer like Zukovsky (whom we had previously seen in GoldenEye), who gets her a nuclear submarine through his nephew, a corrupt Russian sailor. Much of the film takes place in Azerbaijan, a former Soviet republic with several oligarchs as a product of their oil fields. Prostitution is around the corner at Zukovsky’s casino (early script drafts made this even more evident) and a pilot working for an antiterrorist unit in Kazakhstan is bribed with a simple pair of Adidas tennis shoes (another unused line from the script claimed that “here you could get anything for a pack of cigarettes”). The film underlines a breach between the lower and upper classes felt in most of the Soviet nations failing to adhere to free market economy – in both GoldenEye and The World Is Not Enough, Zukovsky finds it hard to make a living out of his few legitimate activities. For the first time, there is an event in the story that precedes Bond and involves the maternal affection from M towards Elektra and the potential relationship with her father (former lover?). The movie was preparing us for an era where the villains and allies had a past that influenced the present in which the film’s plot develops. Literally, everything that happens in the film is the consequence of things that happened in the past due to human actions: Sir Robert not paying for his daughter’s ransom — following M’s advice — led her to form an allegiance with Renard, which came back with a vengeance. Bond, who is emotionally unattached to these events, solves this threat with his usual professionalism.

Die Another Day (2002) reflects a much more insecure world than ever before. The 9/11 attacks made places like the United States and the United Kingdom less safe than what they once were, and there was a lot of talk regarding this “Axis of Evil” (North Korea, Iran, Iraq) with profound hatred towards the West — nations with their own totalitarian set of rules, dangerous enough to provoke fear amidst civilization. The Americans, nearly absent from the first Brosnan films, came back to have the ultimate say on the War on Terror, to the point MI6 is “told off” by the NSA due to Bond’s rogue attitudes during the first half of the film. The idea that the enemy could be “one of ours” was reflected in the villains. While the main antagonist is in the conflict-diamond trade, his intention is purely political and ideological, mirroring this hatred of the West held by the Axis of Evil (the villain is, in fact, a North Korean officer infiltrated into British society, with an MI6 mole at his disposal). A virtual-reality training sequence with masked terrorists assaulting the heart of British intelligence underlines the post-9/11 fears to perfection. After his capture in North Korea, Bond is exchanged and then abandoned by his government. This underscores that, unlike soldiers or police officers, spies are treated like assets more than human beings – and when we consider how much M trusted Bond with the Elektra King case in the previous film, the way she deprives him of his freedom has a special, poignant gravitas. The ubiquity of CGI in Hollywood (which meant a renaissance of the fantasy genre) as well as speed ramps and slow-motion cameras had a major influence on the style of the film. In the early 2000s, the horrific images of the World Trade Center burning down coexisted with the rise of celebrity-scandal culture typified by Paris Hilton and the rise of reality shows. Die Another Day has been criticized for being two films different in tone, but this duality is actually what makes the film a passionate reflection of its time. From the downbeat marching percussion of “Some Kind of Hero,” with colourless visuals of the DMZ, to the hopeful notes of “Going Down Together,” with shiny and warm vistas of a paradisiacal South Korean location where Bond has his warrior’s rest, both David Arnold’s soundtrack and David Tattersall’s cinematography serve as a healing for the pain the character goes through in a film where his future is at stake and he regains his strength.

I have written several articles on the Brosnan era in the past decade, you can find a compilation of them (some have been lost in sites that are now extinct, or published only in Spanish) in my ebook The Brosnan Files, which is available exclusively through ZOOM Platform as a DRM-Free PDF file.