Kino.de Redaktion | 05.11.2012 14:55
Pirates of the Caribbean – Stranger Tides
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About the production
"When three films together gross $ 2.7 billion worldwide, you quickly understand the message that the audience is using to convey them," says producer Jerry Bruckheimer, commenting on the audience’s reaction to the first three films in the pirate saga, which were based on PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL (?? Pirates of the Caribbean ??, 2003) began, then with PIRATES OF THE CARIBBEAN: DEAD MAN ?? S CHEST (?? Pirates of the Caribbean – Pirates of the Caribbean 2 ??, 2005) and PIRATES OF THE CARIBBEAN: AT WORLD ?? S END (?? Pirates of the Caribbean? 2007).
"The box office results are wonderful, of course," admits producer Jerry Bruckheimer. What is even better is that these numbers tell us what these films meant to viewers. After there had been no pirate films for over three decades, the viewers fell in love again with this genre and certainly also with Johnny Depp as Captain Jack Sparrow! There are more adventures that Captain Jack has to endure, and our screenwriters, Ted Elliott and Terry Rossio, have created a whole world to explore.
And that’s exactly what the audience will do, they will explore this world when they accompany Captain Jack on his action-packed journey to the legendary source of youth. When Jack’s path and sword cross with the mysterious Angelica (Penélope Cruz), an adorable pirate with whom he shares a dubious past, Angelica forces him on board the Queen Anne’s Revenge, the ship of the legendary pirate Blackbeard (Ian McShane) to go.
On his completely unexpected journey to the legendary spring, Jack Sparrow is a prisoner and has to use every conceivable trick in dealing with the barbaric Blackbeard, his zombie crew, with Angelica, who is as cunning and skillful with his sword as he is , and finally also in dealing with beautiful, beguiling mermaids, who can lure even the most experienced sailor into ruin with masterly cunning.
Johnny Depp, who had fallen in love with his character Captain Jack Sparrow during the first three films, was definitely ready for a new adventure, he frankly admits: After the end of the third part, I had the thought of one fourth to be able to turn somewhere in the back of my mind ?? I thought, hopefully we’ll do that too. When you stop playing Captain Jack and take that role, there is a real drop in pressure. But I like to slip into this role. It is a great pleasure and satisfaction to represent Captain Jack because this character allows me to be completely disrespectful, subversive and abstract in all situations. I know this character so well that the presentation is self-evident. ??
?? From Ted and Terry’s screenplay to PIRATES OF THE CARIBBEAN ?? I was very taken with FOREIGN TIDES ?? adds Johnny Depp. You had the impression that the doors had opened again, as if everything looked absolutely new and new. The rhythm and layout of the script was more similar to that of the first film, moving from point A to point D to point Z without developing too many subplots and complications.
Depp was also thrilled to be able to work with Jerry Bruckheimer for a fourth time, who had been loyal to Depp’s absolutely original acting approach to his character, Captain Jack Sparrow, when filming the first film. "Without Jerry Bruckheimer we would not have been able to realize even a third of what we finally got through with the first film," explains Johnny Depp. ?? Without Jerry’s support, without his understanding of the material, without his ?? Okay, I am aware, some are worried, but I think it’s funny, let’s just do it! ?? would the first film have been much more standardized and less funny? and I would have been fired! ??
Jerry is very familiar with these films. I was in countless script meetings with him, and he never struck the wrong note, he always had interesting ideas. And if you have a problem, is he always the one who says ?? do ?? don’t worry, we’ll take care of it ??. Jerry is a real producer, does not allow himself to be restricted by anything or anyone and creates a working atmosphere that helps us to do something interesting and different. We never felt any pressure in this regard, it was always said that Bruckheimer took care of it. And you know that he can do it too. It’s just cool. ??
"Right now, Johnny is the most popular actor in the world, and one of the best, and he’s definitely the most dedicated and hardest working," enthuses Jerry Bruckheimer. "You love working with him because every day he comes to the set with a smile, ready to work hard, but still have a lot of fun doing it."
Looking for a director for PIRATES OF THE CARIBBEAN – FOREIGN TIDES, Jerry Bruckheimer and Johnny Depp agreed. Both wanted Rob Marshall, the CHICAGO (Chicago, 2002, Oscar for Best Film), as well as the highly ambitious MEMOIRS OF A GEISHA (Die Geisha, 2005) and NINE (?? Nine ??, 2009). "As a filmmaker, Rob has no fear of facing the greatest challenges and taking real risks," explains Jerry Bruckheimer. In addition, his experience with musicals, film and choreography was of great benefit for the staging of a film from the PIRATES OF THE CARIBBEAN series. For this type of film, you need someone who can stage large action scenes and understand movement. Rob is also a wonderful storyteller and has an immaculate taste. ??
Johnny Depp’s list of directors with whom he wanted to work on a fourth film in the pirate saga was very short. “In the beginning it was a big dilemma that Gore Verbinski, with whom I made the first three films, was no longer available due to his commitments to RANGO (?? Rango ??, 2011). Certain names came into play, and when Rob’s name came up, I thought, “Now we’ve found him. Hopefully he’s a nice guy too. ?? I’ve seen all of his films, he’s very empathetic. The way he approaches the figures is simply great and unique, his aesthetic sensation is also outstanding, and his timing is perfect. So we were talking and I knew from the first moment that he was the right one. I just knew it.
"I think there could have been no one better than him to succeed Gore," Depp continues to compliment him. ?? Rob respected what Gore built up with the first three films, but at the same time contributed with his own style. He developed an absolutely new perspective, looked at everything with an unused eye and realized a new look.
Rob Marshall is a very creative force in modern American film, his appearance on the set has been aptly described as "iron hard but dressed in velvet". The acclaimed director’s first three films, CHICAGO (?? Chicago ??, 2002), MEMOIRS OF A GEISHA (?? Die Geisha ??, 2005) and NINE (?? Nine ??, 2009) received a total of 23 Oscar® nominations ). And, according to Marshall, it was just perfect that he directed the fourth adventure in the hugely successful pirate saga: I always wanted to make a classic adventure film. At first some of you might have thought that I was going in a completely different direction with this film. I don’t really see it that way, for me it’s an extension, especially because ?? Action ?? is basically choreography somehow. ??
"The action scenes in PIRATES are almost entirely choreographed, much like dance sequences," continues Marshall. ?? For action sequences to work, they are carefully put together like a detailed mosaic, and this is very similar to the procedure for dance sequences. The development of the plot and the characters must be integrated into the action.
Marshall was also thrilled by the prospect of working with the man who had given heart and soul to the PIRATES OF THE CARIBBEAN films: Johnny Depp. "I’ve heard from a lot of people over the years." You two would be a great fit, be a great team, and you would love working with him as much as he would love working with you. So when I got the offer for PIRATES, my first thought was ?? What a great opportunity that would be to work with Johnny ??. Johnny is exceptional; he is not only a genius and a real creative power, but also endearing, considerate and elegant.
"I really feel like he’s from a different time," Marshall continues. He comes to the set and shakes hands with everyone. He takes the time to make sure everyone on the set is happy. His work ethic is very strong, but you can also have a lot of fun with him. He’s just hilarious and we laughed all the time. We had a grueling schedule, went quickly from one scene to the next, had to deal with an enormous workload with huge backdrops. But thanks to him it was a joy.
"From the start, Rob knew how to do without anything superfluous," recalls Johnny Depp. I knew what he was going to use and what wasn’t. He works incredibly efficiently? True to the motto, let’s stay at the core of the story and let’s have fun while we do that.
?? Johnny and Rob hit it off straight away ?? and getting better and better as the filming progresses, ”recalls executive film producer John DeLuca. "You enjoyed each other’s company on the set, discovered yourself as related souls."
Ted Elliott and Terry Rossio, who had written the screenplays for classics such as ALADDIN (?? Aladdin ??, 1992) and SHREK (?? Shrek – The daredevil hero ??, 2001) before PIRATES OF THE CARIBBEAN, rummaged for PIRATES OF THE CARIBBEAN – FOREIGN TIDES even deeper in the treasure chest filled with historical facts, legends and myths about seafarers and pirates, could be used for characters, locations, topics and the central plot of Tim Powers ?? much admired novel ?? On Stranger Tides ?? (?? In stranger tides ??) inspire. "The main goal was to develop a story that could stand on its own two feet and not a simple continuation of the trilogy," explains Terry Rossio.
Working on the screenplay for PIRATES OF THE CARIBBEAN ?? FOREIGN TIDES Elliott and Rossio mostly relied on their own instincts, but also paid close attention to the huge worldwide fan base of the first three films. Rossio in particular is known for engaging in dialogue with film fans online on his own website: "It was very useful to see how the fan base responded to various reports about the film," Rossio admits. ?? And I am really motivated to design and write these films when I know how much the fans care, that they will notice it and they will appreciate it when they see something ambitious or nuanced in these films . ??
In fact, the three films triggered nothing less than a current in pop culture, a PIRATES OF THE CARIBBEAN euphoria. Not only does this show the huge revenue at the box office, but even more clearly the increasing number of viewers who appear in pirate outfits in the cinema (not to mention Halloween) – whether they are dressed like Captain Jack or like other characters in the film, or show off their own designs. The PIRATES mania can also be read in the increasingly fashionable pirate jargon, which is used on almost every occasion.
After the stories of Will Turner (Orlando Bloom) and Elizabeth Swann (Keira Knightley) found a beautiful ending with PIRATES OF THE CARIBBEAN – END OF THE WORLD, Elliott and Rossio wanted to create new characters and at the same time some popular characters of the trilogy in the take over new film, especially Captain Hector Barbossa (Geoffrey Rush), Joshamee Gibbs (Kevin R. McNally) and of course Captain Jack Sparrow. In Tim Powers ?? Roman was the legendary Blackbeard, the most feared of all pirates, a main character ?? you couldn’t have invented a better villain for the film. With Angelica, who is equal to Captain Jack blow by blow, the authors finally created a new heroine. "It was great fun to confront Jack with Angelica, because until now Jack hadn’t had to deal with a woman who completely opposed him and was equal in selfishness and cunning," explains Terry Rossio.
Elliott and Rossio wrote their screenplay in close collaboration with Jerry Bruckheimer, Rob Marshall, John DeLuca, Johnny Depp and Mike Stenson and Chad Oman, who were executive producers with Jerry Bruckheimer. "Johnny was critical to the development of the project," said Terry Rossio. He influenced the story, the development of the characters, the locations, topics and of course the dialogues. Without Depp there wouldn’t be this script. Because he knows Jack Sparrow so well, you want to pay attention to every instinctive suggestion, every idea from him, no matter how big it is. I just imagine the character Jack Sparrow, but Johnny lives it. ??
Johnny Depp very much enjoyed developing a story for the film together with his creative partners: "Basically, it’s like going to a think tank to let ideas run wild," says Depp. Ignites one of them, it’s good, and if it’s accepted, so much the better. Fortunately, that’s exactly what they did, hopefully for the benefit of the film. They were very open to developing a film that was different, to give it a fresh coat of paint, instead of just wanting to do another sequel.
"We had very little time developing the script, so we wanted Johnny’s input as soon as possible," recalls Mike Stenson, one of the executive producers. He had some great ideas, including making Philip a missionary. He has a very strong instinct for what will work and will not work.
Production: The cast
Jerry Bruckheimer, Rob Marshall, Ted Elliott and Terry Rossio were aware of the advantages of being able to create new characters and continue the story of already established characters. But one thing was clear to everyone involved from the start: Captain Jack Sparrow was not allowed to change.
"Jack Sparrow is one of the characters that doesn’t change," agrees Terry Rossio. ?? The audience doesn’t want change, and neither do I. Instead, he changes the characters around him.
In fact, it was precisely this aspect that attracted Penélope Cruz, Oscar® award winner of international renown, to this project, among others? as well as the prospect of being in front of the camera again with Johnny Depp ten years after BLOW (?? Blow ??, 2001). And surely it wasn’t a disadvantage that Cruz was one of the admirers of the series: "I’m a big fan of the first three films", the Spaniard admits, "and of course Johnny’s portrayal. Every actor wants to be part of such a great adventure. Every day is adventurous, impossible to be bored as ever. ??
Rob Marshall had worked with Penélope Cruz on NINE (?? Nine ??, 2009) and had become a close friend of the actress. He admits he wasn’t sure how the Oscar® winner would react when he first suggested that she play Angelica in PIRATES OF THE CARIBBEAN: I have Penélope right away seen in this role. Humor and strength were required here, it’s about a pirate who is as smart, cunning and clever as Jack Sparrow. Angelica had to combine all of these criteria and, frankly, Penélope was the only one who could be considered.
"I remember asking Penélope at a restaurant in London," continues Marshall. "John De Luca, one of the executive producers, Penélope and I were having dinner together and I didn’t mention any of them until the end of the meal and just wondered if she would be interested ?????
?? And then I asked very hesitantly, ?? Penélope, would you be interested in joining PIRATES ??? And I hadn’t even spoken when she jumped up in the restaurant and screamed "Nothing better than that!" The same can often be seen in big actors. They strive for variety in their careers and do not want to play the same role again and again. Like me, she was thrilled by the idea of making a classic pirate film, a film for the whole family, but also for everyone else. It was something completely new for her, and she took this opportunity with commitment. ??
The film brought Cruz together a second time with Rob Marshall, who had already directed the actress at NINE and led to an Oscar® nomination: Working with Rob and Johnny is one of the best experiences I have had in this industry so far Cruz raves. ?? Rob copes very well with great pressure and behaves like a gentleman towards everyone. He is a very special person and everyone who is asked about him will agree. Johnny and I really enjoyed our first collaboration ten years ago, and I’m so happy to have him around me again. He is so humble, smart, and one of the funniest people I know. He is an incredibly talented artist and, like Rob, a gentleman. The longer you work in this industry, the more you want to have nice people around you. And as far as that is concerned, they’re both at the top of my list.
"Angelica had a relationship with Jack Sparrow a few years ago, but he cheated on her and broke her heart," Cruz introduces the story of the two characters. Now she’s looking forward to taking revenge. I still think she loves him, but she can’t admit these feelings, not even to herself. Angelica thinks like a pirate, is a great manipulator, liar and also an actress. She really knows how to trick people, but her soul is pure and she has a big heart. Her main goal in life is to try to help her father. Angelica hopes that she can save him from all the damage he has done. She needs Jack Sparrow just like him to find the source of youth. There she hopes to save her father’s soul.
"It’s a pretty hot love story that goes far beyond hate," says Johnny Depp, describing the relationship between Captain Jack and Angelica. And Geoffrey Rush adds: “Having Penélope on this film is absolutely fantastic because I have always thought it would be great if there was a wild, unpredictable, highly attractive and sexy pirate, the Jack Sparrow is equal. She is fiery, spirited and very precise as an actress.
Jerry Bruckheimer and Rob Marshall Ian McShane offered the challenging role of one of the most notorious pirates of all time. The veteran’s remarkable career spanned almost 50 years and reached with his frenetically acclaimed portrayal of Al Swearengen in the HBO western hit ?? Deadwood ?? (?? Deadwood ??) for McShane unexpected heights. "Ian McShane is a perfect actor," enthuses Jerry Bruckheimer. ?? He is brilliant and has played it all. He has received recognition of all kinds for his performances, and that gives a director and the viewer even more pleasure when you can see performers at the height of their art.
"Johnny Depp, Jerry Bruckheimer and I sat down with a long list of actors," recalls Rob Marshall. When we went through it and came across Ian McShane, it was immediately clear that he was just Blackbeard. He can embody evil very well, but behind it can always make humor visible. He just has his own fresh approach to everything.
"Blackbeard is probably the meanest and most dishonorable pirate," said McShane. There are countless stories about him. Whether they are true or not, it is an integral part of pirate mythology. I was impressed with the script, it’s very funny and charming. ??
McShane also wanted to work with Rob Marshall: ?? In a charming way, mercilessly, that’s how you could describe Rob. Staging a film as big as this is a wonderful quality and feature. Rob has an iron determination, combined with a genuine, very personal charm. I think that’s great.??
"The beauty of the Blackbeard’s character is that from the outside, he appears to be a rational man," Johnny Depp describes Captain Jack Sparrow’s adversary in PIRATES OF THE CARIBBEAN – FOREIGN TIDES. But the better you get to know him, the more you realize that he is an ice-cold, absolutely heartless killer. To achieve his goals, he would cheat and betray everyone, and that is exactly what makes him so dangerous. And I think there really is no one better than Ian McShane to embody this character.
Penélope Cruz was excited to be able to explore the very unusual father-daughter dynamic between Blackbeard and Angelica: ?? Angelica does not want to admit that she cannot trust her father. It cannot deal with it, but it cannot accept it. It’s all too painful for her, so she keeps looking for and finding justifications for her father’s actions. She keeps fighting him so that he stops killing. It is her mission to change her father and she cannot face the fact that she cannot trust him.
For the fourth time, Geoffrey Rush can be seen as Hector Barbossa, who the Australian actor had made into one of the most vicious and yet popular characters in the pirate series in previous films. "When I heard that there would be a fourth film, I was thrilled because I love working with Johnny," enthuses Geoffrey Rush. I think it’s just delicious to be able to play this ongoing argument between Jack Sparrow and Barbossa. And Ted Elliott and Terry Rossio seem to have new ideas all the time. After the first three films, in which they really explored all the thematic possibilities from the adventurous world of the mantle and epee genre, including treasure hunt, Aztec curse, sea monsters, gods and goddesses in Wagnerian dimensions and also the East India trading company, I thought actually, that there would be nothing left of the golden age of the pirates and the associated mythology that could still be built into a script. But I hadn’t thought of Blackbeard … nor of mermaids! ??
"It is also very gratifying for me as an actor that each film has revealed a little more about Barbossa," Rush continues in his remarks. And due to the fact that Barbossa is basically a very calculative survivor, in PIRATES OF THE CARIBBEAN – FOREIGN TIDES he got involved in what he considered to be a very satisfactory pension plan. Because he does not get younger, he therefore sided with King George and became a privateer. Already in the third film he showed more of his politician-like traits, cunning and self-interest, and that he is far more than just a shabby old pirate.
"Even if Captain Jack and Barbossa are on the same side, they somehow remain opponents," adds Johnny Depp. These two characters have always seemed to me like old housewives in a bridge club who are constantly chopping at each other. And that’s exactly how Geoffrey and I put these two characters on from day one, and he’s definitely a worthy opponent. Geoffrey is a fantastic actor who is constantly researching the possibilities of a scene. With Geoffrey there is always a fresh approach, always something new and interesting.
"Let’s put it this way, Jack and Barbossa think they are an old couple," added Geoffrey Rush. ?? If the two were actually working together and not constantly arguing, they would be the most fantastic team and could not be stopped by anyone. But the two separate worlds. Barbossa thinks strategically but is not the smartest. Jack, on the other hand, lets himself be carried away by the flow of life, improvises and takes great risks. It always pays off for him, even if he flies from one ship to another. It always lands safely and ends up looking like Bugs Bunny leaning against the mast. And that’s how it will always be with him, and that’s a really fantastic acting dynamic between us.
Back among the pirates is Kevin R. McNally as old fur seal Joshamee Gibbs, making the British actor one of the veterans of the series with appearances in all four films. "When I was asked about another pirate adventure, I was surprised," admits McNally. ?? Because when I think back to the beginning of this phenomenon, I would never have thought it possible that we still make these films today. I think that’s great, because in the cinema you rarely get the chance to play a character again as an actor. Especially if you have screenwriters who want to bring in some new aspects for the characters instead of having to do the same thing over and over again. Mr. Gibbs has been involved in a wonderful and exciting story from the start, which is very gratifying to me.
To find the right actors for the two younger central characters in the story? for the young, seductive mermaid Syrena and the brave missionary Philip Swift ?? Bruckheimer and Marshall, together with the American casting agent Francine Maisler and her British colleagues Lucy Bevan and Susie Figgis, looked for new talents worldwide. Out of thousands of candidates, they finally chose the Spaniard Astrid Bergès-Frisbey, who works in France, and the British actor Sam Claflin. Both of them were able to gain acting experience in France and England, but they were still blank sheets internationally.
"It was a good search because we wanted to find fresh faces, new, young actors," recalls Rob Marshall. We looked around everywhere, in Europe and also in the USA. It was a very lengthy process involving hundreds of actors. But when the selection finally narrowed down to the last candidates, you could see pretty clearly who stood out. Sam is a wonderful actor, looks good, but he’s also extremely versatile. He has a sense of humor, is as charming as you can be, physically incredibly fit and is actually a very good footballer. Astrid embodies a mysterious mermaid in the film, for this role we were looking for someone who looked as if he didn’t come from this world. We saw this criterion immediately met at Astrid, she has this ethereal charisma. It is incredibly down to earth and reasonable, very natural and also very beautiful. And when we brought the two together, we knew that would fit. ??
And Jerry Bruckheimer, who knows a little bit about discovering new talent, adds: ?? Astrid has already shown wonderful portrayals in French and Spanish films, is a radiant beauty and is also very emotional. Sam had just graduated from drama school, had been classically trained, looked very good and had played major roles in two major TV miniseries ?? in ?? The Pillars of the Earth ?? ("The Pillars of the Earth") and in "Any Human Heart". Astrid and Sam totally excited us with their test shots. We just knew that both would bring exactly what they needed to really make an impression on the big screen. And we should be absolutely right about that.
"I play a missionary named Philip Swift who stands up for his beliefs and tries to make up for the wrong done by Blackbeard," Claflin describes his character. “Throughout history, Philip has had a surprising development, especially after getting to know Syrena. He has had almost no contact with women so far, which means a real turning point for him, to put it mildly.
Bergès-Frisbey was as amazed as Sam Claflin when she was selected for the latest epic in the PIRATES OF THE CARIBBEAN saga. "I didn’t think I really belonged until I arrived in Kauai for the first costume rehearsal," admits the rediscovery. Syrena differs from the other mermaids because in history it develops a relationship with humans and changes as a result. Philip changes Syrena and she also Philip, because from the first moment they recognize something of themselves in the other. Syrena differs from the other mermaids just as Philip differs from the other humans. He is a really good person, and Syrena behaves differently to him than to other seafarers and pirates who are at war with the mermaids.
Before filming began, Bergès-Frisbey researched everything about the legends, stories, and legends surrounding mermaids. ?? Since the time of Homers ?? The Odyssey ?? are there myths all over the world about mermaids who charm and then kill sailors with their charm? says the actress. ?? These myths began in the 19th century with Hans Christian Andersen’s story ?? The Little Mermaid ?? to change. Andersen’s more romantic perspective is much more common today, especially after Disney’s cartoon adaptation of this story and other films such as SPLASH ("Splash" Jungfrau am Haken ", 1984). In my opinion, Syrena is a link between the scary older stories and the more romantic versions of recent mermaids.
In order to maintain the pale complexion that a mermaid must have because she lives mostly under water, Bergès-Frisbey was not allowed to take a single relaxing sunbath during the two-month filming in Hawaii. "I had to live a vampire’s life," says the actress with a laugh, "had to stay inside during the day and only allowed to come out at night."
The rest of the huge cast was selected from a pool of renowned international performers. Stephen Graham joined the team from Great Britain in the role of the rowdy Scrum, he had already worked with Johnny Depp on Michael Mann’s PUBLIC ENEMIES (?? Public Enemies ??, 2009). "The character I portray originally comes from the Greenwich area in London," explains Graham. ?? He is a real sailor and has been cruising on the seas since childhood. For me, Scrum is the Artful Dodger of the pirate world. He is always looking for something to do, has his fingers everywhere, is always looking for new ways to make more money and experience more adventures. Scrum is a great character, it was fun to play. And after I had to play some psychopaths lately, it was great to be able to leave it all behind and just have fun. ??
Other well-known international actors include Richard Griffiths, Roger Allam, Greg Ellis and Damian O ?? Hare, who can be seen again as Groves and Gillette, and finally 15-year-old Robbie Kay, the first child in the Row may embody a pirate. Oscar Jaenada and Juan Carlos Vellido came from Spain, Yuki Matsuzaki from Japan and Supermodel Gemma Ward from Australia in the role of the mermaid Tamara. Finally, Keith Richards, guitar legend of the Rolling Stones, returns to the Pirates as Captain Teague. A comeback commented by Johnny Depp, who frankly admitted that Richards was one of the main inspirations for Captain Jack Sparrow, said: ?? After we had Keith on board the third film, I knew he had to come back , I talked to Jerry and the screenwriters about it early on ?? everyone agreed with me. The worldwide response to Keith’s portrayal as Captain Teague was simply gigantic. And Keith wanted too much to come back as long as that made sense in the context of the story. I think Ted and Terry solved that wonderfully because he shows up again at the right time. ??
"It’s fascinating," continues Johnny Depp. "I’ve known him for a long time, and when you get the chance to hang out with him alone, chat with him about music, films, or anything in the actor’s caravan, it’s a pleasure."
"Johnny put it all together," admits Keith Richards. "He asked me," Are you there ???, and I answered, "Give me my gear, baby." It’s just so much fun.
Rob Marshall was also enthusiastic about working with the rock legend: ?? He is extremely lovable, very funny and extremely humble. After we shot his scene, I said to him: “Keith, it was just fantastic, I’m very impressed. And he answered slyly: "You should see my Hamlet first." Working with him was a pleasure, because it is just fun with him. He is great in the film and Johnny admires him. The chemistry between the two is amazing.
Production: The visual worlds
"In any case, we want to take the viewer on a journey that goes beyond and differs from what was seen in the previous films in the pirate series," says Jerry Bruckheimer of the filmmakers’ central ambitions. ?? For PIRATES OF THE CARIBBEAN – FOREIGN TIMES we have the great cameraman Dariusz Wolski on board, who also set the light for the three previous films and is now shooting for the first time in digital 3D. Rob Marshall has also brought the brilliant Oscar®-winning production designer John Myhre to the team, and we’ve set up our cameras in completely new locations, ranging from Hawaii to the Caribbean to London. ??
Myhre’s dream came true with the design work on the fourth epic of the pirate saga: ?? The ?? Pirates of the Caribbean ?? – Ride is my favorite in Disneyland. I think I’ve visited this ride every year since it opened in 1967. I grew up in Seattle but once a year I went to Disneyland with my family. ??
As soon as Rob Marshall was announced as the director of PIRATES OF THE CARIBBEAN – FOREIGN TIDES, Myhre said he jumped like an eight-year-old boy in his living room. The reason was that he has already been part of the team for all three films previously staged by Marshall and for his dynamic reawakening of the Jazz Age in CHICAGO and for his astonishing Kyoto set in DIE GEISHA, which was almost entirely realized in California locations Received Oscars®.
Before filming began, Marshall, longtime collaborator John DeLuca, and production designer Myhre were on the Pirates of the Caribbean ride, but now had the opportunity to pause for research on the film and view certain details. "Rob and I are fans of previous films in the pirate series," explains Myhre. ?? But it’s fun to do it with a new creative team because you can bring new life to the project and your own ideas. PIRATES OF THE CARIBBEAN is a film that focuses on the characters, and we wanted to add some theatricality to this film. We’re also expanding the saga world, opening the film in the mid-18th century, then going to the islands, rainforests and beaches of the Caribbean. ??
"You can say that the film is divided into three blocks," Myhre continues. There is the beginning in London, the middle section on Queen Anne’s Revenge and finally the last third the search for the source of youth that leads through the jungle. For the dense, lush and magnificent rainforests, we went to Hawaii, Kauai and Oahu, set up a huge set for the sequences with the mermaids in Los Angeles, then moved to Puerto Rico for a small island and a historic Spanish fortress, and finally for exterior shots to London and for interior shots at Pinewood Studios, where many sets for the film were built.
A team was put together to support John Myhre in translating all ideas, concepts and dreams for the film into a three-dimensional reality. These specialists included set decorator Gordon Sim, who had won the Oscar® together with Myhre for CHICAGO, Tomas Voth, the supervising art director for the scenes shot in America, and his colleague Gary Freeman, who was responsible for the filming in England met, and a huge team of designers, draftsmen and artists who was used in the filming of Pacific as well as Atlantic waters and coasts.
Production: filming locations and film sets
"Although we mostly did the first three films in the Caribbean, we needed landscapes for PIRATES OF THE CARIBBEAN that were as beautiful as if they were out of this world," explains Bruckheimer. After searching extensively for suitable locations, the filmmakers chose the islands of Kauai and Oahu, which belong to the Hawaiian archipelago, both of which offered special qualities for scenes on the water as well as on land, as director Rob Marshall explains:? ? Both islands, but especially Kauai, have these extraordinary rainforests, mountains and coasts. Everything there is lush green, oversized and simply amazing. The landscape of Oahu is also beautiful, and there we filmed all the scenes that take place at sea, including those on board Blackbeard’s ship, the Queen Anne ?? s Revenge. ??
"It can be seen as a foretaste of the following months when the first day of shooting for a big film adventure is almost as adventurous as what you put on the screen," Jerry Bruckheimer laughs when he started shooting on June 14, 2010 The almost inaccessible beach at Honopu Beach on Kauai’s famous Na Pali coastline, surrounded on three sides by steep cliffs that rise up to 360 meters, offers a fantastic sight. One way to achieve this landscape wonder, which was protected by the US state of Hawaii, was on the beach by helicopter, which Johnny Depp made in a surreal appearance with costume, hairstyle and make-up completely prepared as Captain Jack Sparrow.
There was a second option, but access via the sea posed additional problems. Because boats were not allowed to moor on the beach, most of the crew and cast members were brought to the coast by a Zodiac inflatable boat and then dropped onto jet skis or smaller inflatable boats, which then, on this first day of shooting, struggled through the heavy and grueling surf had. And because the jet skis were not allowed to stop, that meant for their passengers to jump into the sea. Of course, most of the crew members were thrilled when they finally reached the beach. As on each of the more than 100 days of shooting that followed, the first assistant director, Peter Kohn, set a good example. Most of the required equipment was flown in on helicopters attached to risers.
"If there is an easy and a hard way to do something, we always choose the hard way," notes Barry Waldman, one of the executive producers. Two days before filming began on Honopu Beach, the waves were only 60 centimeters high. Of course, they reached one and a half meters on the first day of shooting. Shooting on Honopu Beach is one of the things the film benefits from, if you do it right. ??
And colleague Chad Oman adds: ?? It was a great sight for me how Rob Marshall was brought to the beach on a jet ski on the first day of shooting. A great introduction if you want to stage a film from the PIRATES OF THE CARIBBEAN series. Most of us had worked on the first three films, but it was a completely new experience for him. It was just wonderful to see how he brought his enthusiastic enthusiasm into the film.
The "Garden Island", as Kauai is rightly called, also provided countless locations beyond the Honopu Beach that were needed for the film, as well as a considerable number of extras. In fact, a month and a half before the start of filming, a total of about 7,000 men appeared for a public extras search, many of them in pirate outfits with bandana, headscarf, earrings and tattoos, most of them real.
A number of them were selected, but six applicants from Hawaii were particularly lucky to form a core crew among the pirates on Queen Anne’s Revenge – with their unique (if not eccentric) personalities. This group included Tamayo Perry, one of the world’s best surfers as a big wave specialist, Kevin Senn, whose nickname ?? Top Hat ?? refers to his top hat, which he always wears, reminiscent of Abraham Lincoln, Michael Rosales, a rapper with Filipino roots and the stage name Mic3, Emerson (Malcolm) Tuitt, who comes from the island of Montserrat in the Lesser Antilles and thus the only real pirate of the The Caribbean was also the imposingly large Rey Payumo, who has been delivering letters for 20 years, and finally also Thomas Smith, who is a gardener by profession.
After the first water-drenched and sun-drenched day of shooting at Honopu Beach, the team moved on to a variety of locations on Kauai for a whole month. In the locations there, on the grounds of the National Botanical Garden in Lawai, on the Kipu Ranch, Grove Farm and Valley House Ranch, there were wonderfully suitable landscapes for thick jungle cover, rivers, gorges and cliffs. Many of these locations proved to be tough tests for cast and crew members when accessing and turning ?? mainly because of the structures for the two 3D cameras.
But filming in Paradise certainly enchanted the actors, as Sam Claflin remembers: ?? On my first day of shooting in the jungle, we waited for the camera to be ready for use. Malcolm, one of the Hawaiian pirates, grabbed a coconut fallen from a palm tree, picked up his prop sword, and opened it. Shortly afterwards, we drank all coconut milk, right on location. Hawaii is one of the most beautiful places I have ever seen and I am happy that I was allowed to work there. ??
Although most tourists simply call it the Blue Room or ?? Blue Cave ?? is known, Waikapala ?? e, as the locals call it, is a place of great and sacred cultural importance. It is located on Kauai’s north coast, directly across the road to Ke ?? e Beach. The magnificent grotto was chosen as the entrance to the caves that lead to the source of youth in the film. perhaps appropriate, because the Hawaiians believe that the water in Waikapala ?? e itself gives life. It was only fitting that each day of shooting should start with an effective blessing ceremony carried out by a specialist in Hawaiian cultural care. In fact, the PIRATES OF THE CARIBBEAN ?? FOREIGN TIDES that such ceremonies were always held in front of the first hatch when shooting on or near consecrated ground.
The weather gods were unusually gracious throughout the filming of Kauai. Except for a day when pouring rain poured all over the island, forcing Johnny Depp and Kevin R. McNally to film a scene inside an 18th-century prison wagon instead of filming at Ke ?? e Beach, who actually played in England. The next day, however, the sky cleared up enough for both of them to shoot an important sunset scene on the beach and for the still existing clouds to create a perfect picture with the bright light. Everyone agreed that despite the technological advances that have been made in the film in recent decades and despite the computer magic that makes almost every picture possible, the perfection of this picture could not be achieved that nature itself in this landscape had conjured up.
"That’s exactly why we go to locations like this to capture moments like this," confirms Jerry Bruckheimer. "Kauai was incredibly beautiful and just perfect for us," added Geoffrey Rush. ?? Because we were shooting in very surreal looking bamboo forests, we found wild, rugged cliff walls and extraordinary jungle landscapes. It all contributed so much to the film.
The last location on Kauai before the PIRATES OF THE CARIBBEAN army moved to Oahu has its own venerable past in pop culture. The legendary but closed Coco Palms Hotel near Kapa ?? a had been one of the main filming locations for Elvis Presley’s film BLUE HAWAII (?? Blue Hawaii ??, 1961), and it was here that he sang the title song. Marshall and his team set up the cameras in the thick coconut grove that gave the hotel its name. 773 coconut palms were harvested before filming so that none of the heavy fruit could land on the heads of actors or crew members. Locals then took the tropical fruits to enjoy their milk and pulp.
As an encore, Geoffrey Rush played the host at a screening of BLUE HAWAII, which he organized for some friends in his hotel room on Kauai. "We have re-cast every role in the film," recalls screenwriter Terry Rossio, "and of course Elvis Presley’s went to Johnny Depp!"
Almost exactly a month after filming began on Kauai, the team moved to Oahu, which translates as "meeting place". Mother Nature Bruckheimer, Marshall and John Myhre again provided the necessary backdrops, in this case, however, with countless additions by the equipment team. Much of the shooting on Oahu took place in the deep blue waters off the coast. The Queen Anne’s Revenge in all its terrible beauty moored either at Barbers Point, where, just a stone’s throw away, the Disney Company in Ko Olina started building the brand new Aulani Resort at around the same time, or at Heeia Kea Boat Dock in Kaneohe, where the Queen Anne’s Revenge anchored significantly more often. Here the ship also became a nighttime tradition and attraction for hundreds of spectators. It was locals or tourists from mainland North America or distant countries such as Japan, who gathered in a monitored area to catch a glimpse of Johnny Depp and the other actors ?? and they were never disappointed by the popular superstar.
Night after night, completely dressed up as Captain Jack, Depp stopped at the barriers on the way to Queen Anne’s Revenge, greeted the fans, shook hands, posed for snapshots, took many kisses and let everyone know how much he was and the rest of the team appreciated their support. Aloha followed Aloha, and as Depp’s kindness got around, the crowds that gathered at night grew. They too were fascinated by the sight of the ship, which was enveloped in a distance by film mist and by camera specialists and assistants from Bruce Ross ?? and surrounded by Dan Malone’s marine department. And every viewer wondered what the hell would be going on board.
What was mostly on board was filming an exciting sequence in which Jack Sparrow led a mutiny against Blackbeard ?? with extremely surprising results. "We were brought to the ship on small boats," recalls British actor Paul Bazely, who embodies Salaman. Everything was illuminated by these beautiful, huge lights. Smoke and fog swept in and all the torches were lit. When I got on the set, I was told Paul, at this point you climb down the rigging, attack the one, pull it over here and tie it up. Camera off! ?? And with this signal, hundreds of men suddenly started shouting and shouting, swords were crossed. It was all very exciting. You fight on a deck that has been specially watered to make it look more realistic. And that was really a slippery affair, but it was also a wonderful experience to be on board with our brilliant stunt people. It was intense, let me put it that way! ??
On land, for daylight shots on Whitecap Bay, the filmmakers selected one of the most famous beaches on Oahu. Here, at Halona Cove, the mermaids’ attack on Captain Jack and a group of Blackbeard’s pirates was filmed, here on Eternity Beach Burt Lancaster and Deborah Kerr kissed in a famous scene from FROM HERE TO ETERNITY (1952). Even though Halona Cove is only 20 minutes by car from Waikiki in the immediate vicinity of the coastal road, this place is still very difficult to access, because there is no right way down to the beach. Everyone in the team had to carefully and carefully find their own way through steep, slippery rock formations. This was particularly difficult for the crew members who had to carry heavy equipment. A nearby lookout point, the Halona Lookout, posed a similar challenge for Depp, Cruz, Rush, and other cast and crew members.
The largest ?? buildings ?? by production designer John Myhre on Oahu were the atmospheric mermaid pools that were created on the grounds of the Turtle Bay Resort on the north coast ?? so hidden, however, that tourists and night owls in the hotel had no idea about the nightly filming with Penélope Cruz, Ian McShane, Astrid Bergès-Frisbey, Sam Claflin and various pirates and zombies. We shot so many jungle scenes that we have as many different scenes as possible looks had to find to show that this was really a trip. Rob Marshall put it nicely when he said that our trip through the jungle should be similar to the Pirates of the Caribbean Ride … so you should have a new tableau after every curve.
The eerie atmosphere of the mermaid pools was enhanced by 13 extremely realistic mermaid skeletons created by Joel Harlow, head of the Make-Up and Make-Up Effects Department.
Production: The pirate ship
"It’s always very exciting to be on a pirate ship," enthuses Jerry Bruckheimer. "In my opinion, every child wants to be a pirate, and because we are working on these films, we can actually live this dream." Even if this pirate ship is a floating nightmare. The Queen Anne’s Revenge, Blackbeard’s ship, is an impressive, terribly beautiful, brutal beast of the sea an extension of Blackbeard’s own dark views of life … and death.
"The Queen Anne’s Revenge is a ship that represents evil in an incredible way," explains Rob Marshall. A ship made from the bones and skulls of Blackbeard’s victims. According to a prophecy, Blackbeard will soon die, which also brings with it a sense of doom and doom. It is a majestic pirate ship and it was an exciting experience for us to sail on it.
"The size of the ship is incredible and the craftsmanship brought in is astounding," enthuses actor Stephen Graham, who shot many of his scenes on board. "Everything is hand painted and hand made and you feel like you’re in Disneyland every single day."
"It was great to be able to work on a pirate film and design a ship," recalls John Myhre with comparable enthusiasm. “We were given the Black Pearl, which Rick Heinrichs, the production designer of the second and third films of the PIRATES saga, had rebuilt to its own new design. Rick, his crew and the boat builders took the hull of a steel boat as a base and then built the Black Pearl, which was completely seaworthy. And because the Black Pearl does not appear in the story of PIRATES OF THE CARIBBEAN – FOREIGN TIDES, Disney wanted us to use the ship as a base for the Queen Anne’s Revenge. Basically, we cut off the entire top of the ship and built on whatever we wanted. ??
After watching many old pirate films, Myhre noticed that it was not always easy to distinguish one ship from another in sea battles. But he wanted the Queen Anne’s Revenge to stand out and look like the most powerful ship in the sea. "The real Blackbeard brought in over 20 ships," says Myhre. That’s how I got the idea and suggested that he would probably keep the ship that was the most elegant and powerful. So we added a third deck to a two-deck ship.
Before being converted to Queen Anne’s Revenge, the Black Pearl sailed a good 2,400 nautical miles from San Pedro thanks to the nautical arts of its captain Glenn Hall, also known as "Captain Kiwi", and his crew of seven warm shipmates. in California to Barbers Point on Oahu and took two weeks to do it. Since she is for PIRATES OF THE CARIBBEAN ?? CURSE OF THE CARIBBEAN 2 had been built on the hull of a supply boat called Sunset used off the coast, the Black Pearl had actually traveled a total of 8,000 nautical miles.
For a period of four months, the Black Pearl was in Kapolei, at the shipyard ?? The Phoenician ?? fixed, received from Greg Callas ?? Crew and the staff of Bruce Ross ?? Naval department the finishing touches. "The ship had been in dry dock for five years, so it suffered in some places," recalls Callas. "We had to replace a lot on deck, lots of carved elements were made in Los Angeles and then shipped to Oahu."
After the redesign by Myhre and supervising art director Tomas Voth, who was the outfitter for the filming in the USA, the new incarnation of the Pearl hardly had any resemblance to the old one, as Voth explains: "We decided to tail the Boot as high as possible, so high that it could barely sail. On the third deck we are 16 meters above the water. So that our ship did not protrude far out of the sea, we had to attach a few tons of lead to the bow as a counterweight. Now the ship is 100 tons heavier than the Black Pearl.
The skull-adorned wall to the left and right of the door that leads to the Blessed Sacrament of Blackbeard was finally brought to the Pinewood Studios in England by Queen Anne’s Revenge. The interior of Blackbeard’s cabin was set up in a studio hall there.
"Designing something like Queen Anne’s Revenge is one of the things I love most about working on movies," Myhre notes. ?? Because it’s a real collaboration. “I started designing these really wonderful baroque details for the ship, almost like what you can find in Versailles. This should make the ship look really gorgeous and elegant. And Jerry Bruckheimer as well as Rob Marshall loved these sketches. But then Jerry said something interesting: "Blackbeard must be the scariest pirate we’ve had in the PIRATES OF THE CARIBBEAN saga." And Jerry asked us to include some skulls and skeletons in the design of the ship because skulls and bones were part of the most famous pirate flag.
?? I remembered Kostnice, the famous Church of the Bones ?? in the Czech Kutna Hora. This amazing church is literally adorned with bones. There are garlands made of backbones and pyramids made of skulls. And I was thinking, "Wow, instead of making all those intricately carved embellishments, why don’t we just incorporate the bones of Blackbeard’s victims into the design of Queen Anne’s Revenge?" We made stucco and ornamental structures from arm and leg bones and teeth, as well as walls from skulls. The idea behind it was that Blackbeard’s victims were killed by the fire with the help of a huge, blazing lantern at the stern of the ship.
The figurehead’s design is based on Blackbeard’s actual flag, showing a horned skeleton holding a goblet of wine in one hand and a spear in the other, as if Blackbeard wanted to toast his victims. "I’ve always loved that," Myhre admits, "and we thought of something similar for the figurehead. One of the legends about Blackbeard is that when he went into battle, he lit matches that were woven into his beard so that he always looked like he was glowing and fogged with smoke. I thought it was cool to apply this idea to the ship itself to make it look scary, devilish, glowing and smoke-filled. Thus, in our skeleton as a figurehead, fire comes from the chest and eye sockets as well as from the chalice. This creates a smoke curtain that covers the entire ship. And at the rear, the huge lantern creates clouds of smoke. ??
"We thought it would be great if Blackbeard had a huge stained glass window in the back of his cabin, which is at the stern of the ship, which would be illuminated from the outside by the huge lantern," added Myhre. "It was important to me that the light determined the atmosphere in the cabin, that the wildly blazing flame entered through the window from the outside."
The interior of Blackbeard’s cabin was actually built later in the Pinewood Studios, including a large section from the huge stained glass window. “It was a lot of fun to prepare this set,” says Myhre, “because our Blackbeard has supernatural powers. That is why there are occult objects scattered all over the place, in addition to the more typical sailor maps and navigation instruments. There is all this power, all this wealth and lots of loot, but there is also a fantastic level with magic and alchemy.
Because Myhre had already used the skeleton of Blackbeard’s historically documented flag for his design of the figurehead of Queen Anne’s Revenge, a new pirate flag was needed for the film, the design of which ultimately contributed to Heather Pollington. The result was a fiery flag that would have fit on the back of a jacket worn by motorcycle gangs. And that fit perfectly into the concept of Penny Rose, who saw Blackbeard as a biker pirate.
The Queen Anne’s Revenge was not only the scene for countless scenes full of action and supernatural chaos, but also for a dance in the moonlight, with which Captain Jack and Angelica express romantic feelings, but also betrayal and double play. The choreography was carried out by executive producer John DeLuca ?? to the music Stephen Graham played as Scrum on his mandola. For this role, Graham had to take several hours before filming to learn to play the mandola.
"Johnny is so figure-hugging," notes De Luca. ?? What he creates in physical expression for his characters is the same as what a dancer does. Penélope is a real dancer, loves to dance and move. So it was hilarious to work on this scene with both of them. ??
Production: The Mermaids
Finally, the crew left the forested coasts of Hawaii behind and flew to Los Angeles. There they filmed for a few days off the coast of Long Beach on the HMS Surprise, about 190 kilometers from the San Diego Maritime Museum, where the HMS Surprise is usually located. The HMS Surprise is a beautiful replica of the British frigate HMS Rose from 1757 and plays the double for the Providence commanded by Captain Barbossa.
The extraordinary 104-meter-long and 6-meter-deep set from Whitecap Bay was designed by John Myhre and with great skill by construction manager Greg Callas and his team in what is known as a "Falls Lake". known area of Universal Studios in Los Angeles. The third act of the film begins at Whitecap Bay, it is a stage in the search for the source of youth. The mermaids have been gathering here for hundreds of years to frighten sailors and pirates.
"We needed a completely controllable environment for the water sequence that is playing here," continues Myhre. “That’s why we chose Falls Lake, a series of interconnected concrete tanks that could build an entire set and eventually flood it. This was the only way we could shoot the whole sequence on the water without endangering actors and stunt people.
And Rob Marshall adds: ?? These were complicated and long night shoots, with lots of stunts and underwater shots. All the characters involved were thrown around in wetsuits. No question, it was the most complicated sequence and the biggest challenge for us.
To complement Syrena, the mermaid played by Astrid Bergès-Frisbey, ?? real ?? came across Mermaids to the team ?? seven beautiful models and actresses, including Australia’s supermodel Gemma Ward in the role of Tamara, and a talented team of 22 synchronized swimmers, some of whom also took part in the Beijing Olympic Games. The maritime beauties were guided and choreographed by Candace Hipp and in motion capture suits so that they could be used in the post-production by visual effects supervisors Charles Gibson and Ben Snow from the industrial lighthouse & Magic could be transformed into magical canvas mermaids.
Given the long time all in the water ?? Even at night – on the Whitecap Bay set in the Universal Studios, it was very helpful for everyone if at least they could feel comfortable and safe in the water. "In Australia we go to beach training when we were kids and I’ve always loved swimming in the ocean," explains Gemma Ward. ??We have trained a lot in the water for this film, especially certain movements that mermaids do. Their movements under water are very different from those that people do there. We had to learn to swim with our legs closed – in wave-like movements. Ward is a fashion icon, but still relatively inexperienced as an actress. She was amazed at the size and scale of the Whitecap Bay set. “Great God, it was just amazing, absolutely incredible, just the size. I had never seen anything like it.
"The biggest challenge for the girls was that they weren’t allowed to use their arms as much as they would have liked to," notes Candace Hipp, the synchronized swimmer coach and also her choreographer. For this reason, they do the "Dolphin Strike", one of the hardest movements in swimming, because the abdominal muscles are extremely stressed. At the ?? Dolphin Strike ?? the swimmers jump as far out of the water as possible, but keep their legs closed. They also perform a sequence of movements that one ?? Eggbeater ?? is called. This means circular movements with both legs to be able to stay afloat. ??
The actors floating on a small wooden boat in the middle of Falls Lake’s huge tank almost inevitably made friends. "We were surrounded by beautiful mermaids, which is by no means a bad thing," says Sam Claflin. “But it was not exactly comfortable on the boat, and we sat in this tiny boat for six six consecutive nights. It was something like Inselkoller, just on a boat. But we finally started to feel like real pirates, singing songs, fooling around, chatting between takes. We took care of our own entertainment and it was nice to be able to get to know each other and beyond the mermaids. ??
As with the previous three films, the visual effects for PIRATES OF THE CARIBBEAN ?? FOREIGN TIDES again spectacularly new. Most of them were realized by the industrial light effect shops & Magic, Moving Picture Company and Cinesite, additional effects work was carried out by companies such as CIS Hollywood, Rising Sun, Method and Hydraulx. All effect contributions were monitored by Charles Gibson, who together with some colleagues had been awarded the Oscar® for the innovative effects for PIRATES OF THE CARIBBEAN – FLUCH DER KARIBIK 2 (2006).
Gibson and his many special-effect collaborators not only created the photo-realistic mermaids, but were also responsible for numerous other visual tasks ?? expanded the urban landscape of London in the 18th century with digital effects, made changes to Hawaii’s already astonishing natural beauties and finally brought a whole ship to a terrifying life for the mutiny sequence on Queen Anne ?? s Revenge.
Gibson, special effects producer David Conley and Ben Snow from Industrial Light & Magic also had the task of turning the swimmers in their black suits into scary mermaids. Gibson elaborates on the required process: Based on what ILM had done for Bill Nighy and his character Davy Jones in PIRATES OF THE CARIBBEAN – PIRATES OF THE CARIBBEAN 2 and PIRATES OF THE CARIBBEAN – END OF THE WORLD, we knew that we were able to create completely artificial characters so precisely that they could be perfectly harmonized with the actors’ representations. The movements of the actresses who represented the mermaids were closely monitored by sensors? they either wore special suits or had temporary tattoos, If you could not wear the suits. When we then fused the images together, we got the best of both worlds.
"We put the synchronized swimmers in sensor-equipped suits provided by ILM," explains Ben Snow in detail. They all had marker tapes so we could place our digital mermaids exactly where the synchronized swimmers and stunt people had been. The swimmers are really incredible. They can do incredible things with their bodies, such as how dolphins jump out of the water. One of the ways we could use the swimmers’ movements for us is to track them using the markings on their costumes. Some of our employees also shot with video cameras, and we were able to synchronize these cameras with the digital Red One cameras that were used in the shooting. It was a great help for us to be able to follow the movements exactly, because now we could use Rob Marshall’s different camera perspectives and staging actions to actually shoot the scenes and reproduce them animatedly. We have developed an interesting design for the mermaids, a mixture of an animal creature and a beautiful woman, with long tentacles, as you know them from jellyfish, which lash like a whip around the sailors and drag them to ruin. Realizing that was technically a big challenge, but also very exciting. ??
These whip-like tentacles made of seaweed, which kill unfortunate pirates, were created with the support of Charlie Gibson and his company. "Under the supervision of stunt coordinator George Ruge, his employees were jerked through the water on pulling devices and ropes," Gibson explains. "So we only relied on their work and then developed the appropriate animations on this basis to successfully merge real action scenes and digital effects."
Finally, the team from PIRATES OF THE CARIBBEAN – FREMDE GEZEITEN from Los Angeles flew to the title location, the Caribbean. In Puerto Rico, the Castillo San Cristobal was filmed in the old town of San Juan, which had to serve as the exterior facade of the Spanish castle. It was one of two great fortifications that the Spaniards had built to protect the city from a land attack. Construction started in 1634 and ended in 1783 ?? a period that perfectly matched that of the film, whose plot takes place in the mid-18th century.
In addition, the filmmakers discovered a classic desert island that was so perfect that no one could believe that it actually existed. Indeed, the island of Palominito, which lies east of the east coast city of Fajardo in the North Atlantic, consisted only of a few palm trees, a lot of sand and the backdrop of a turquoise sea that included it.
"For me, one of the most exciting aspects of the production of PIRATES OF THE CARIBBEAN – FOREIGN TIDES, is that for the first time we can have London as part of part of history instead of the usual rainforests, seas and colonial outposts in the Caribbean" Jerry Bruckheimer. This new location gives the film a look and atmosphere that are different from the previous films.
Although the time-honored Pinewood Studios outside of London already had a gigantic playground where John Myhre, Supervising Art Director Gary Freeman and the staff in the huge equipment department led by them could set up their sets, production also turned on some of the most famous historical buildings in the world Region as well as other locations. The staff required shows just how ambitious the whole project was. For the scenes shot in Great Britain alone, the equipment team included six outfitters, five technical draughtsmen, as well as concept drawer, graphic artist and storyboarder. Andy Evans’ design department employed 62 carpenters, 29 painters, 71 plasterers, 14 sculptors and 36 employees who took care of the technical structures and scaffolding. This large number of employees is not surprising when you consider that huge sets were built in five large studio halls in Pinewood, including the 007 hall, the largest in Europe. In addition, a large outdoor set was also set up on the Pinewood Studios site.
The Old Royal Naval College in Greenwich has its own special connection to the world of pirates. This extraordinary series of historic buildings, which had been erected from the end of the 17th to the middle of the 18th century, was practically converted into a studio area for the more than three weeks of shooting. The Painted Hall, designed by Sir Christopher Wren, located on the site, became a double for Old Bailey, London’s legendary courthouse. Wren’s splendid building was co-financed by the looted Captain Kidds, which confiscated the crown after the famous pirate was hung on the Execution Dock (in today’s Wapping district), on the north bank of the Thames near Tower Bridge.
A huge blue screen was set up during filming. On it ?? conjured up ?? The special effects artist from Charles Gibson’s department painted an image of Sir Christopher Wrens at St. Paul ?? s Cathedral as well as a number of masts. John Myhre explains the idea behind it: “We absolutely needed a really wonderful entrance that takes us deep into the heart of London. To realize it, we filmed our extras, carriages and horses against the background of the lower building areas of the Old Royal Naval College, everything above was then conjured up by visual effects. ?? This included replacing the Painted Hall weather vane with a digital statue of Justitia perched high on the top of Old Bailey ?? with a sword in the right hand and the scales of justice in the left. A scene was also shot inside the Painted Hall when Captain Jack is dragged through the entrance hall of St. James Palace by the Royal Guards without much feather reading.
Large areas of the Old Royal Naval College were used as filming locations for the exciting carriage chase in the film, including a church, the Chapel of St. Peter and St. Paul and the Grand Square, the huge forecourt of the Old Royal Naval College , finally the Queen Mary Court and some buildings that now house the University of Greenwich and the Trinity College of Music. Large amounts of mud and dirt covered the modern pavement. 500 fully dressed extras, 25 historical carriages (85 percent of them actually came from the time, were not replicas), 50 horses, countless crew members, headed by Jerry Bruckheimer and Rob Marshall, were then ankle-deep and therefore realistic in the dirt. There was often wonderfully inappropriate music accompanying the exciting events in front of the camera that could be heard from Trinity College, including jazz and atonal twelve-tone music.
The team experienced a wonderful side note to the shooting in Greenwich completely unexpectedly ?? It became an international news story overnight. Responsible for this was the nine-year-old Beatrice Delap, a bright student from Meridian Primary School, who was just a stone’s throw from the filming location. The girl sent Johnny Depp a handwritten letter with the following text while filming:
Captain Jack Sparrow, we here at Meridian Elementary School,
are a bunch of budding young pirates. Usually
we’re doing problems, but we’re having trouble,
to instigate a mutiny against the teachers. It would be great if you
come over and help us. This writes
Beatric Delap, nine years old and a prospective pirate. ??
About a week later, Beatrice and her classmates were called to the school auditorium. When they feared a timpani or worse because of nefarious offenses in the playground, they experienced a surprise. Only the school principal had been informed in advance when Johnny Depp suddenly appeared in the auditorium in complete Captain Jack gear during a break from filming at the Old Royal Naval College ?? along with other crew members appropriately disguised as pirates, including Oscar®-winning makeup designer Joel Harlow. For 15 minutes the cult figure and its creator, who gave a speech to the audience, sang and danced, captivated teachers and students.
In order to be able to recreate the exterior and interior of the St. James Palace for PIRATES OF THE CARIBBEAN – FOREIGN TIDES, the work on several locations had to be seamlessly merged. At Hampton Court Palace, the surprising arrest of Captain Jack by royal guards was filmed, in the Painted Hall of the Old Royal Naval College the scene where the pirate is literally dragged into the lavishly furnished King George II dining room, and on the Finally, the site of the Old Royal Naval College on a specially built set that showed part of the facade of St. James Palace. The king’s dining room, however, was built on the R-Stage, a studio hall at Pinewood Studios.
"All of this was part of an astonishing action sequence for which we had to totally control the entire environment," explains John Myhre the remarkable effort. "If Captain Jack is rocking on chandeliers and throwing chairs through antique windows from the 18th century, then there is no other way but to build everything yourself."
For the sequence in the dining room of St. James Palace, cameraman Dariusz Wolksi set an exquisite light. Flickering candlelight fell on authentic makeup and powdered wigs. Several hundred of these had been prepared by Peter King’s hairdressing department, who was also an Oscar® winner. They adorned the king, portrayed by Richard Griffiths, and his two most important advisors on his left and right, embodied by the great Shakespearean actors Roger Allam and Anton Lesser. With this arrangement, this resulted in a scene that competed with Stanley Kubrick’s BARRY LYNDON (?? Barry Lyndon ??, 1975) in terms of authenticity and historical richness.
In addition to the dining room of St. James Palace, a detailed replica of a courtroom in Old Bailey from around 1750 was also built on the R-Stage in Pinewood. This included paintings by nobles and other worthy people adorning the walls of the room, as well as quills, parchment paper and legal books from the time by the departments of set decorator Gordon Sim and Ty Teiger, who was responsible for the props of the scenes shot in Great Britain was provided. Adding Penny Rose’s costumes and Peter King’s powdered wigs and trendy hairstyles of the time, the set looked like a process could be opened there immediately.
Immediately behind the 007 stage, a shipyard road from London in the mid-18th century was rebuilt on the Pinewood site with remarkable atmospheric authenticity. The architecture along this street, worked out down to the smallest detail, right down to wall decorations, reflects several epochs – from the half-timbered houses from the Tudor period and the Elizabethan era to stone and wooden buildings. "There are truly incredible artisans in England and this is their legacy," enthuses John Myhre. ?? Her ancestors lived in this world, so every employee from the equipment department was enthusiastic about their attention to detail and their ideas. The whole street is made of wood and plaster, but there were also some beautiful wooden beams from the time, from which castings were made and which were then used as the basis for the set. ??
Although the facade of the Captain’s Daughter pub was an outdoor set on the studio grounds, Johnny Depp and Keith Richards were actually on Pinewood’s e-stage as soon as they entered the pub through the front door. The atmosphere of this pub set was absolutely authentic as soon as it was populated by Johny Depp as Captain Jack Sparrow, Keith Richards as Captain Teague and a multicolored bunch of dock residents and lit by flickering candlelight.
A funny action sequence takes place in the dark, wooden storage room of the Captain’s Daughter pub, which was much larger than the pub itself. a sword fight between two Captain Jacks, which is replaced by invading soldiers of the Royal Guard.
Another artistically decorated set was built by Myhre in Pinewood for the scene in which Captain Jack and Barbossa in Ponce de León’s cabin, on the dangerously sloping Santiago, slide back and forth to get their hands on the goblets that are necessary for the ritual are needed at the source of youth. This set most clearly refers to the ?? Pirates of the Caribbean ?? – Ride ?? Consequence of Rob Marshall’s research in Disneyland before filming began. There he also noticed a tableau, which is called "Captain’s Quarters". known and shows a skeletonized figure who, surrounded by mountains full of treasures, studies a map with a magnifying glass. This scene was part of the scenes that were incorporated into the four PIRATES OF THE CARIBBEAN films as a direct homage to the Disneyland ride. Here, too, set decorator Gordon Sim and his staff equipped a set with many details, with furniture, pieces of loot from the pirates, a harpsichord, curtains, fabrics and many other props, which provided even greater atmospheric flair.
John Myhres highlight was, without a doubt, the gigantic source of the youth set. The final concept for this set, including a cave that was intended to extend the entrance area filmed at Waikapala ?? e on Kauai, was designed by Myhre and his team of decorators. Andy Evans took care of the brilliant construction in the famous Albert R. Broccoli 007 hall in Pinewood Studios, the largest in Europe. Design team. Almost every centimeter of the 18,000 square meter hall, which was the only one suitable for Myhres designs, was finally used. It took three months in total to build this set.
Neil Corbould, as the supervisor responsible for the special effects required in England, made sure that the source of the youth set was filled with five and a half million liters of water. Every three hours it had to be re-prepared, dirt particles were filtered out and chemicals were pumped in so that the water for the actors, extras and stunt people always remained clean. In another, separate tank, a waterfall was created as a background with the help of water pumps and 20 nozzles. In addition, two tons of dry ice every day ensured that atmospheric haze and fog could always stay above the water. Finally, the set was further decorated with 5,000 square meters of moss, a few thousand fern plants, roots and hanging plants.
Other filming locations in England included the historic Knole House in Sevenoaks, in the county of Kent – an exceptional stately country home that the Archbishop of Canterbury had built in the 15th century and which has been inhabited by the Sackville family since 1604.
Production: the look
Captain Jack Sparrow, Angelica, Hector Barbossa, Blackbeard, Gibbs, Philip, Syrena and about a thousand other characters from PIRATES OF THE CARIBBEAN – FOREIGN TIDES first of all stand for the synergetic cooperation of the actors they embody, but then also for the filmmakers and Dozens of employees who contribute to the costumes, hairstyles, makeup designs and props.
Penny Rose, the highly esteemed costume designer, looked around the world for the fourth time so that she could dress not only the main and supporting actors of the film, but also hundreds of extras. "The devil is in the details, and Penny is as obsessed with these little things as with the overall impression," explains Jerry Bruckheimer. "There is no serious competition for her in her specialty."
Rose, the multi-lingual creative whirlwind born in the UK, took care of every detail with her key staff, including associate costume designer John Norster and assistant costume designer Margie Fortune. "If you have been on board with three films," says Rose, "then you are reasonably familiar with the requirements and enjoy the fourth film with great pleasure. But we also have something new to offer.
If you make a pirate film and therefore have to deal with water and many stunts almost every day, you almost inevitably have to make a large amount of costumes. Rose had a total of 700 costumes tailored for all extras in Rome. And thanks to this film, Italian hat and shoemakers also had a lot to do.
Penny Rose explains in detail the huge effort involved in production and organization: ?? If I am responsible, there will never be two pirates standing side by side and wearing the same fabric or the same cloak in the same color. That’s why we bought 1,700 different fabrics in Florence. We got our buttons from a fun little shop in Paris, and if I remember correctly, we bought 4,800 buttons there one morning because I didn’t want anyone to wear the same buttons as anyone else. A very clever guy with a foundry made buckles and clasps for us, and – because he also makes beautiful leather goods – some of our belts and valericks. Much of the pirate sash was made from thin Indian cotton, similar to the Madras fabric. In our dye shop, we tried to dye with vegetables and fruits so that we got an authentic, currently fitting look. And then we packed many pieces in a cement mixer, let them rotate with a few stones for a few hours, and then they looked really used. And finally, cheese graters and other processes were used to make the pieces look even more worn. We made a profession of ruining costumes here. ??
"But the costumes are made absolutely authentically," emphasizes Rose, "there are no modern frills such as zippers or Velcro fasteners here."
Because, as Johnny Depp puts it, "… the old Captain Jack found himself a long time ago", there was hardly any need for action to make major changes to the figure’s long-established look. Sure, his dreadlocks are longer now, partially grayed out, or brightened up by the relentless Caribbean sun. And, yes, somehow he pulled a mysterious X-shaped scar on his right cheek and now a gold tooth adorned with a black pearl (as a replacement for the one now hanging from his bandana). But basically, Captain Sparrow still looks like he was introduced to CURSE OF THE CARIBBEAN.
"It’s really special to design a costume that kids now wear everywhere on Halloween," notes Rose. ?? But that’s not my merit, is it? It’s true that Mr. Depp’s portrayal of Captain Jack inspired everyone. However, we now have a new blue vest for Captain Jack. We thought the old one was a bit boring, and maybe Jack eventually let something go somewhere, which is why he now has a nice silk vest. We also have 80 headscarves for Captain Jack, because we shouldn’t run out of them. ??
"I imagined Penélope Cruz as Angelica as a romantic mugger," Rose continues. That’s why I designed a men’s jacket that was tailored to female dimensions, as well as pants and boots up to the thigh. That suits a pirate and looks very sexy. And because I wanted to emphasize Penélope’s figure, she wears a leather corset with stripes that accentuates her upper half of the body. And finally we got a feather-decorated hat from us, which gives Angelica atmospheric flair that fits perfectly with this figure.
Although Blackbeard is well documented in historical sources, the creative forces wanted a more imaginative outfit for the character embodied by Ian McShane, in which they were able to contribute their own ideas. "We knew everything about Blackbeard," explains Penny Rose. "He wasn’t very glamorous, he was just a mean guy, but of course he should also be glamorous for the movie."
"I woke up one morning thinking," God, if you occupy Ian McShane, he must be a biker, "continues Penny Rose. Everyone was from this
The idea was enthusiastic, and the only time there might have been a little problem was when I had to confess poor Mr. McShane that he would wear leather in Hawaii for two months. But he was quite happy with it and did the job, he is just a very professional and experienced actor who understands that every victim is worth it if you look great. So we made Ian a biker pirate with a Hell Angels touch. So he had to wear a lot of beaten leather and rivets ?? Ian looked pretty nasty, but also very attractive and impressive. ?? And finally, even nastier after Kenny Myers, McShane’s makeup man, put on the very long braided beard that gave the terrible pirate its name.
Hector Barbossa is a character from the previous films that has changed on the outside. "The costume designed by Penny Rose has given me a physical shape and shape that no other character I have portrayed before has had," notes Geoffrey Rush. ?? And she did not only achieve this with the historical-looking costumes. She has also given him arrogance, vanity and personality. So my imagination was stimulated differently than I was able to do in previous films.
"In this film, Barbossa is a privateer," said Rose, "so he wears the very pompous uniform of a flotilla admiral. If he works for the king now, can he be dressed accordingly? and this is a striking difference to the pirate clothing we saw in his previous films.
Rush also had to deal with an even more drastic change at Barbossa, now had a wooden leg where there had previously been a flesh and blood leg. "In the 18th century, they usually got you drunk, then sawed off the leg and replaced it with a piece of wood that they had from a piano or somewhere else," says Rush. Previously, an actor like Robert Newton, who played Long John Silver in TREASURE ISLAND (Treasure Island, 1950), had to spend the entire shoot with one leg strapped to his back, trying to prevent that you could see his leg protrude from behind his back. But the script’s requirements and the mobility that I would need because of it did not allow this method. You just can’t run with your leg strapped back. ??
"So we decided on a much more effective and practical solution." the Australian character star continues. I put on a blue screen stocking with the necessary marker points, which was then digitally replaced. I like that Barbossa now has a disability, because it affects his psyche, makes him angry, stronger and more indestructible.
The main responsible for the look of Blackbeard’s eerie zombie crew were Joel Harlow, Oscar® award winner and head of the makeup department, and his eager employees. Before the final result could be admired, there was a long process of research and elaboration. "A concept artist named Miles Teves made several sketches that we then had to work out in three dimensions," recalls Harlow. ?? The idea behind the zombie design was that zombies have neither muscle nor flesh, but moss, stones and fibers. as if they had nothing of what makes us human, no blood, no tendons, but a lot of patchwork.
"We did extensive research," continued Harlow. Santeria symbols, as well as voodoo cult, classic zombie films and shrunken heads. Before we started filming, we did a series of tests in Los Angeles, then sent the results to Jerry and Rob, who gave us their feedback.
And finally, just before the shoot on Kauai started, we had about 14 zombies line up in front of Jerry and Rob, who then proposed changes. In the end, it took an average of three and a half hours for each zombie to be ready for shooting.
Production: In 3D …
"We would only bring PIRATES OF THE CARIBBEAN – FOREIGN TIDES to the cinema three-dimensionally by actually shooting the film in 3D," explains Jerry Bruckheimer about the technical demands of the production. Rob Marshall and I attached great importance to this. Our goal was to offer the viewer an experience in crystal clear 3D that enabled them to completely immerse themselves in the film, in the action, without hurting their eyes. And this is one of the first major adventure films that was shot in 3D at original locations and was not entirely realized in front of the green screen in the studio. In this film, we’re really in the middle of the jungle, the beach, and the streets of London in the 18th century. ??
Getting to grips with these different elements and locations was understandably more difficult with two cameras than with one, and was also more time-consuming and expensive. But it was well worth the effort, as Jerry Bruckheimer emphasizes: “When you shoot in 3D, it gives the film real perspective and size.
"We really felt like pioneers, I have to admit, because 3D cameras have rarely been brought to such remote locations for a film project," adds Rob Marshall. We took these sensitive cameras into the jungle, the beach, caves and ships. It was a real challenge. We hiked a lot in the course of the shooting, we had a lot of experiences.
For the shooting in 3D, cameraman Dariusz Wolski had to face numerous challenges. Wolski was already the cameraman for the three previous two-dimensional films of the pirate saga and can look back on a long collaboration with Jerry Bruckheimer, which goes back to CRIMSON TIDE (?? Crimson Death ?? In Deepest Danger ??, 1995). "Jerry really surprised me when he told me he wanted to shoot PIRATES OF THE CARIBBEAN in 3D," Wolski recalls. “The technology was still relatively new, and big adventure films like AVATAR (“ Avatar ”, 2009) had mostly been made on the computer. Nobody had yet started a 3D film that would be shot from the first to the last day in original locations. Certainly not a project like this, with its exotic locations, large ships, extensive rainforests, wide beaches and all the locations in nature.
"It was a very ambitious, very scary project," Wolski sums up, "because everyone wants to make films in 3D, but the technology has not yet been fully explored. We shot with two Red One cameras that were assembled together, one was aimed at a mirror. Because everything has to be coordinated electronically, there were a lot of cables, technicians and computers on the set. We also had a 3D monitor so we could analyze the images while we were shooting. ??
Thanks to the state-of-the-art 3D cameras, Wolski was able to focus his attention on historical details and lighting. ?? We tried to portray the time authentically, tried to work with candlelight and natural light as we know it from paintings from the 18th century. The Red One camera does a really amazing job in low light. And the audience will feel it, like a beautiful sunset. ??
Dave Drzewiecki, the film’s stereographer, explains what is involved in the artistic use of 3D in PIRATES OF THE CARIBBEAN ?? FOREIGN TIDES arrived: ?? You can throw spears in people’s eyes or have water splash on the lens, but that’s not what this film is about. Our 3D experience is more subtle and comprehensive in many ways, pulling the viewer much deeper into the action.
"There is no one better than George Marshall Ruge for developing action sequences," enthuses Jerry Bruckheimer about his stunt coordinator, head of the stunt team and director of the second recording team. And Ruge has already done so in the first three films of the pirate saga, NATIONAL TREASURE (?? The Legacy of the Knights Templar ??, 2004) and NATIONAL TREASURE: BOOK OF SECRETS (?? The Legacy of the Secret Book ??, 2007) and last but not least at THE LORD OF THE RING: THE FELLOWSHIP OF THE RING (?? The Lord of the Rings – The Fellowship ??, 2001) and the two sequels.
"The fourth pirate adventure is more similar in mood and tone to the first film and is strongly determined by the characters, especially Johnny Depp as Captain Jack," explains Ruge. ?? It is easy for me to develop action scenes especially for this figure. I feel like he’s part of my family. And then it was important for me to get the new characters under control, to make sure that we merged these characterizations so that they enlivened the story.
Among the most important employees in this task were Ruge Daniel Barringer, the Assistant Stunt Coordinator, Thomas Dupont, who served as a sword master and stunt man, Greg Powell, the stunt coordinator for the scenes filmed in England and finally Kurt Lott, who was the team headed the scaffolding, superstructures and equipment. With this team, Ruge created a wealth of sophisticated action sequences that often challenged the laws of gravity. This included Captain Jack’s seventy-meter jump from a jungle cliff on Kauai, another jump into the water from an exploding lighthouse on Whitecap Bay, as well as a detailed choreographed sword fight in the large two-story storage room of the pub Captain’s Daughter, the exciting carriage chase through the The streets of London, the revived Queen Anne’s Revenge, which required a lot of construction and outfitting, the uplifting of mutinous pirates up to the Rah, the unprecedented mermaid attack and finally the monumental climax at the source of the youth for whom Ruges’ stunt team started rehearsals in March 2010, but was only able to shoot in October. For the filming in England alone, Ruge and Powell employed no less than 100 stunt men.
The main characters enjoyed the physical challenges of their roles.??All my great heroes actually come from the silent film era, they did not yet have the luxury of language ,? explains Johnny Depp, who in his skilful and skilful performances during his career already explained his ballet-like body control has shown many times.
"Before filming, I trained with George and his amazing team in Los Angeles for two months," added Penélope Cruz. "You taught me to lose all fear and to be one hundred percent vigilant."
"Because I have invested seven years of my life in PIRATES, these films are important to me, I protect their quality," summarizes George Ruge. When you sacrifice so much time for something, you want the result to be unforgettable.
After 106 days of shooting, the first shooting team ended its work on November 18, 2010. Now Jerry Bruckheimer, Rob Marshall, John DeLuca and Pat Sandston, associate producers and masters of all post-production processes, their large team, consisting of cutters, sound and effects specialists, composer Hans Zimmer and many other artists and crew members had to instruct and instruct them the film was released under high pressure within six hectic months for its worldwide launch in mid / late May.
Zimmer had already given the many characters of the PIRATES OF THE CARIBBEAN saga a specific musical note in the three previous films, composed great symphonic soundtracks that found the balance between a rousing score in great old Hollywood tradition and innovative, imaginative and adventurous sounds.
"I love composing music and developing new musical themes," admits Hans Zimmer, who had previously created key themes for Captain Jack, Barbossa, Will, Elizabeth and Davy Jones for the previous films. ?? It becomes increasingly difficult because the style was established very quickly in the first film, then suddenly you are inspired, you start to give the new characters a musical identity. Finally it works again and you have new ideas.
"I try to treat each film as independent, but at the same time it is great fun to visit old friends again, so to speak," continues Zimmer, explaining how he works. ?? Now Penélope Cruz is on board as Angelica, she is Spanish, so I found some Latin American musical influences appropriate for PIRATES OF THE CARIBBEAN – FOREIGN TIDES. I’ve been a big fan of the Mexican guitar duo ?? Rodrigo y Gabriela ?? for years, and offered them to play with us. We had a really great time together, they were part of the musical world of this film.
Zimmer studied world music attentively and, during his career as a film composer, often incorporated ethnic sounds brilliantly into his compositions. African about in A WORLD APART (?? Two Worlds ??, 1988), THE POWER OF ONE (?? In the Shine of the Sun ??, 1992), THE LION KING (?? The Lion King ??, 1994) and in the Jerry Bruckheimer production BLACK HAWK DOWN (Black Hawk Down, 2001), Asian in BLACK RAIN (Black Rain 1989, 1989), THE LAST SAMURAI (Last Samurai, 2003) ) and KUNG FU PANDA (?? Kung Fu Panda ??, 2008). But Zimmer began his career as a pop and rock musician, as a member of the band The Buggles, and never broke the bridges to this musical world. "I always saw the soundtracks of the PIRATES films arrested in rock" n "roll", explains Zimmer, "because somehow the pirates were the rock" n "scooters of their time. ?? Rodrigo y Gabriela ?? are basically flamenco guitarists, but their musical background is metal, and they are also familiar with the world of rock and roll. So they fit us perfectly.
"It was very exciting for us because it was the first official invitation for us to work with a great composer for a film," admits Gabriela, the female half of the duo. ?? This task was very different from what we do otherwise. Suddenly we had to create all this music out of nothing. It was a job that was very challenging and very inspiring. ??
"In the end, the best memories are the relationships with actors and crew members that developed during the shooting of PIRATES OF THE CARIBBEAN – FOREIGN TIDES," concludes Jerry Bruckheimer.
Johnny, Geoffrey and Kevin are back and new friendships have been made with Rob, John, Penélope, Ian, Sam and Astrid. The greatest fun with such a project is the new friends you make when you work together. ??
And the closing words belong to director Rob Marshall: ?? It was a great adventure ?? on and off the canvas. Every moment of filming, whether we were in Hawaii, London or anywhere else, every employee could experience themselves as part of this unique experience. I am convinced of that.??
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