February 24th, 2020

7 Джек

We Sail With the Tide - 2010. Из дневников Терри Россио. Часть 2.

Из дневников Терри Россио, сценариста фильмов «Пираты Карибского моря».
Мы плывем по течению.
We Sail With the Tide - 2010
by Terry Rossio

Записки Терри Россио во время съемок фильма «Пираты Карибского моря: На странных берегах» (Pirates of the Caribbean: On Stranger Tides).


Источник: wordplayer.com
Не у всех сайт открывается, в том числе и у меня тоже. Многие жалуются. В своё время я скопировала себе все дневники по 2, 3 и 4 фильму. Потихоньку хочу их перевести. И добавлю в блог оригинал для тех, кто хочет читать на английском, но нет доступа к сайту Россио.

We Sail With the Tide - 2010. Из дневников Терри Россио. Часть 1 >>
We Sail With the Tide - 2010. Из дневников Терри Россио. Часть 3 >>
We Sail With the Tide - 2010. Из дневников Терри Россио. Часть 4 >>
Продолжение:
You don't even have to be on set. In the trailer, between set-ups, we leave the walkie-talkies on, in case we're needed on set. And you hear odd stuff, random call outs that just can't be identified if you don't know the situation or the story. A few that I jotted down: "Groves wants someone to carry his jacket." "Is this right? I don't think this is right. It's not right. No, it's right." "They're going to love it at the Glendale Mall." "Call Robbie Elizabeth Taylor." "Jason, I have your timesheet." "He left his almonds in the trailer." "I see white tennis shoes." "The first boat is going to leave after the second boat." "I hate it when mom and dad fight." "Did I hit anyone with that?"

Several unexpected delays shooting in the jungle, carrying the glass coffin through the swamp. Water on lens takes a good amount of time to clean off. Water level in coffin needs to be correct. Final looks, hair and makeup, takes them a while to get in and out. Unexpected smudge on lens -- inside the lens, means disassembling the camera. Get the smoke right, try to time the variable breeze. It seems the more you spend on a film the longer it takes. Sun in and out of the clouds. Search for a rock for Johnny to stand on. Waiting for the sound of airplanes overhead to fade. Clearing the background, getting stuff like backpacks and water bottles out of the shot.

Regarding Jack's line, "I support the missionary position." Had to climb down the rocks and ask him to add an apostrophe, make the word missionary possessive. I blamed the studio. "Ah, the mouse," he says. It's a strategy to keep the line from being cut. Same scene, overheard between Sam and Johnny, as a piece of wood suddenly popped up out of the water. "This just came out of my pants. Been in there for years. It floats." The crew cracks up.

Later that day, Johnny softening the character again. That 'Goodie-goodie place'. It's a tough spot for me, does one proffer criticism, or does one respect the genius of the most successful actor on the planet?

Sitting at lunch chatting with Astrid about the movie. Suddenly she declares, "I need to talk to someone important. Someone who can make a decision!" stands and strides away. We look at each other, smiles all around. We've been slammed, albeit inadvertently, but we don't care, the way she did it was so charming.

Another day in the catering tent, Sam arrives with his tray, joins our table and explains why he came over: "I don't like hanging out with really intelligent people." And then sits down with us with that charming grin.






Кадр из фильма «Пираты Карибского моря: На странных берегах».


Kevin McNally talks about the previous films, being haunted by the bone cage, which was the 'cover set' on PIRATES 2 and 3. "Wherever you go, they're unloading the bone cage. Corner of the set, the bone cage. Just out of camera range, the bone cage." A cover set is what the production uses if the main day's shooting is lost for some reason, say a rainy day or a sick actor. So it travels from place to place. On PIRATES 4, Kevin notes, "The paddy wagon is our bone cage."
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