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).
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 >>
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."
There's a general feeling we lost a day due to no second unit at the river location, also going for the wrong shot, setting up to do a close-up because the light was great, but by the time the shot was ready the light was changed. And besides you can shoot a close-up anywhere.
Would have been nice to get a real snake for the traveling in the river scene. Somehow ended up with a stand-in snake, purchased from a local dime store. At least that's how it was described to me. Pulling it through the water using fishing line ended up looking as unconvincing as that sounds. Of course the plan is to replace it CGI, but there's something to be said for the fear and realistic messiness that would be created by a real snake.
World Cup, Sam predicts Argentina, Spain and Brazil as the top teams, with his overall winner: Spain. Quartermaster picks Brazil. Ian McShane's overall pick, Argentina. Chad Oman picks Germany.
Charlie Gibson, multiple Academy Award nominated and winning visual effects guru, writes a memo threatening to fly home unless he's provided a trailer. I think he got it... like the screenwriter, he's somebody who actually works in his trailer and actually needs one.
Received a fabulous birthday gift from CAA, a round of golf at the famed Princess course in Kauai. Had to race away from the course to play an afternoon game of soccer. Have to stop for gas and then the hotel and then up to room, but not sure why? A surprise birthday party! People below the hotel room balcony lying on the ground forming the number 50. Not sure why that number, I feel more like 27. Karaoke singing and cake. Sam's birthday as well. Sam and Astrid running around, playing like kids. Next day I was quite the celebrity. Apparently someone at the production office had sent out a memo, to get people to come.
Kissed by Astrid on my birthday!
Later that night, our Karaoke playing got applause, Jocelyn, myself, Greg Ellis, for a ragged but charming version of "Somewhere Over the Rainbow".
Saw RANGO trailer. Awesome. Absolutely awesome. Made me ask the question, though, where is the quality control on our film? Who is the person who is insisting every choice is creative and inspired, every shot spectacular?
Asked to help out on a promotional bit for Comic-Con. Get the Comic-Con script, and it is too long and painfully lame. Trying to push the 3D angle. What they've written is five pages and it should be a single paragraph. Have to do a rewrite this afternoon. Shades of Superbowl ad on the first PIRATES film. I have an idea, wonder if they will go for it, where Jack Sparrow speaks directly to the audience.
In Hanalei, we pass by a cave near the road, and the driver tells me of a local legend that the cave is inhabited by a dragon. I put it together and it just has to be Puff the Magic Dragon... in the song, Puff lived by the sea, and frolicked in the autumn mist in a land called Honah Lee... he travelled on boat with billowed sail... pirate ships would lower their flags... there has to be a connection. But in researching the topic, according to the songwriters Leonard Lipton and Peter Yarrow, there appears to be no connection at all to Hawaii, as the song was inspired by an Ogden Nash poem.
Chatting with Tracey, she hasn't seen Gore Verbinski's RANGO trailer (which, of course, stars Johnny Depp), so it was gratifying to be the one to tell her that it was online, and how incredible it looks.
Showed Susie Makeup photographs I shot of my swimsuit designs. She was legitimately blown away. Which I appreciated, partly because the praise was coming from a woman, as the guys are impressed just by how pretty the models are. And her name isn't really Susie Makeup, it's just when there are different people on a production with the same first name, they get their department name as their last name, in this case, Susie Makeup rather than Susie Costume.
Ian McShane tells a very entertaining story from his theater days in London, a background player who had a single line in a production of Shakespeare. The line was, "Hark! I hear the cannon!" He practiced it over and over. Different readings. "Hark! I hear the cannon!" The director made sure he knew his cue, the other actors were supportive, helping him with his delivery, "Hark! I hear the cannon!" Finally opening night arrives and the big moment comes. The actor comes on stage. Behind him, there is the sudden loud BAM! of a the cannon firing. The actor, startled, blurts out, "What the fuck was that?"
Word has it Gore is hired to direct THE LONE RANGER. Monday blowup, Tuesday reconcile. Studio unwilling to let Johnny go with the project somewhere else. Mike Stenson. "The last time Johnny was in a movie for Disney wearing a funny hat they made a billion dollars," a reference to ALICE IN WONDERLAND, and Johnny's idea to play Tonto with a crow on his head.
At the beach, Johnny has come up with a new end speech. It steps on the Gibbs line, "I'm Joshamee Gibbs", and is centered around calling back (yet again) the "I'm Captain Jack Sparrow, Savvy?" bit. Kevin McNally is a trouper, when he heard Johnny's line, he immediately knew he'd have to give up his (and I know he was looking forward to that line). Have to come up with some revisions to make the new lines fit, I write up several options. There's a little extra time due to rain. Maybe the island gods are not happy with the changes? I think we're ending up with too much goofy Jack at the expense of capable pirate Jack. Time pressure, is there any way we can make the sunset shot?
Wow, the 3D remote hand-held cameras fail at exactly the wrong moment, right when we're chasing the sunset. The re-boot time is killer, getting them back up requires five minutes of waiting for the software to churn. Probably the final sky is going to be a processed CGI sunset anyway, but there is a real gorgeous one sitting right there.
Jerry shows me a video on iPad, Johnny's performance of the Comic-Con spot. Really excellent. Johnny added the bit about the bloody map, Bloody Marys for all, it's on the mouse. All done in a single take. He knows his character, he knows his audience. Nailed it.
On set, I find myself standing next to Javier Bardeen, I congratulate him on his marriage to Penelope Cruz. He says that they'll try to make it last. I note that they're both larger-than-life movie stars, they must have some great fights. He laughs and says they fight it out like a big Italian family. "And then afterwards the make-up sex is great!"
Had one of those surreal moments, trying to fit in a visit to the fertility clinic, of course I end up getting a call, Rob needs me on set. Just what I didn't want, to be caught playing hooky. Of course the shooting is on the other side of the island, and I decide to go in the wrong direction, which turns out was the right direction if I had only stuck with it for just a few more miles (this is an island after all, there are no wrong directions, you will eventually get where you want to be no matter which direction you choose). So in the midst of my frustration and angst, my phone rings, a blast from the past, Walter Parkes calling, wants a read and a reaction on their new MEN IN BLACK script. Sometimes life just overflows.
The pig arrives on set, and I've never seen a crew so quiet, trying to not spook it. Not quite sure what I expected, looks to me a little more "Green Acres" than wild boar.
Watching the British Open very late at night at the hotel falling asleep caused some very weird dreams, turns out that Ian McShane did the bumper narration in and out of commercials, Blackbeard's soothing voice telling details and trivia regarding the Old Course at St. Andrews, very disorienting...
The Bruckheimer production of THE SORCERER'S APPRENTICE opens and, to put it politely, bombs. It's the classic mistake of aging the kid up to be a teenager, assuring that the central aspect of the concept and story will not work. They're also blaming the marketing, which doesn't bode well for M.T. Carney, and there may be some truth to that -- the tagline, "The coolest job in the world" has got to be one of the worst of all time, what teen wants to go see a kid be told what to do by some older guy (Nic Cage)? That's the sort of thing they want to get away from!
In the mermaid killing fields, we get a magical take, the sunlight spotlights Sam on the crane pullback shot and then dims, after I had just made the observation that the lighting was great, "as long as a cloud doesn't come by." Well the cloud came by but at the right time, giving a natural fade. When asked whether to go again, Rob says, "That one's magic, why do another?"
Fun to tease Sam about being heartthrob. He hates the word, so of course I use it as often as possible. Hello, heartthrob!
In Honolulu, invited to Geoffrey Rush's suite for a screening of BLUE HAWAII. Very fun to watch with his ongoing commentary, and we realized that ON STRANGER TIDES is really a remake of that BLUE HAWAII, both shot in the same locations (Oahu and Kauai). "There's the Geoffrey rush role!" he calls, out, relative to the matriarch grandmother character. "There is the mermaid hunt!" when the characters go grunion hunting. "I want to play the grandma if they ever ask me what role do you dream of!" We decided, times don't change. "Johnny Depp is our Elvis," Geoffrey says.
At the screening, it turns into a fun little party. Chatted with Astrid about having to learn everything on set. Spoke to Pauline, local student and filmmaker, who works at the Apple Store, was invited by Geoffrey. He does that, sweeping along, you get caught up in his net.
Funniest bit in that movie, it opens with Joan Blackman's character racing to the airport, pulling up in the parking lot right in front (plenty of open spaces), racing into the airport, then out through the gate (no security) and onto the tarmac in time to embrace Elvis as he disembarks from the 727. Times have changed...
Working in the trailer, one learns to follow the actors out to set, or to the sound stage, to not waste time. After they're done with hair and make-up. That's when the action starts, whether rehearsal or shooting. What this means is you learn to coordinate with transportation, and ride out on the actors boat, or travel out in the actor's van. Or hop onto whatever transportation Jerry B has arranged, as that's when he gets there, too.
On set, information is key. If you miss a day, walking onto set is like a visiting a foreign country. So when Jerry arrives after missing a few days, or a week, I always take time to fill him in -- on issues, concerns, conflicts, rumors, etc. It's like intrigue at the Royal Court, information is power. Everyone wants to look like they're in the know, so they don't directly ask, but appreciate every little tidbit. And just like the Royal Court, if the Director (King) or Movie Star (Queen) shut you out of the loop, you're through.
Love my new iPad. Changed the send message from, "Sent from my iPad" to "Sent from my iPad from the jungles of Kauai."
In conversation, Mike Stenson says, "Pirates of the Caribbean 4 can't fail." He made this statement on Thursday, September 30, 2010, at 3:42 PM. I wrote it down. We'll see.
In Waikiki, I wanted to avoid the inevitable production staff dinner, do some reading, just be by myself for a bit. So I begged off saying I didn't feel well and stuck off to a nearby steakhouse bar and put in my order. Minutes later, Jerry and the gang shows up. How did they find me? Randomly, out of a dozen restaurants within walking distance, they picked the same one. Busted!
Penelope's sister comes to the rescue. She looks so much like Penelope, she's perfect for long shots and hey, between you and me, she's even prettier than her more famous sister.
Early on in the production, I make it a point to introduce myself to the on set Medic... because invariably, I'm the one who's going to end up seeing him again.
I've always been mystified at how long it takes to shoot on set. The production records time of the first shot, and it's often after eleven o'clock. Why isn't the first shot set up the night before? According to Barbara, our dialect coach and speech expert, director Steven Spielberg shoots fast, two crews at once. Never any downtime.
Rumor on set: Disney head of feature production Bruce Hendricks caught skinny dipping in the hotel pool. From one of the production executives: "I made sure the Disney people heard about it."
Reading THE AMAZING SPIDER-MAN script and giving notes, as a favor to director Marc Webb. Among other comments, I note a similarity in the climax of his film to ours, the protagonist making a switch to win victory in the end. Probably won't matter as the films come out a year apart, nobody will notice.
We need a brief scene between Jack Sparrow and Philip Swift on the trek, ahead of the scene where Philip opens the glass coffin. I write up a number of approaches, different ideas, and we gave all the choices to Johnny. Was that a good idea? No. He wanted to film them all...
#1) Cut into the scene as Philip speaks earnestly to Jack. "No, it doesn't matter how many women were involved, or how many days it went on. What matters is that you are genuinely contrite."
Jack: "But I'm not."
Philip doesn't answer; he looks past Jack, something is wrong with Syrena --
#2) Philip speaks earnestly to Jack. "No, it doesn't matter how many women were involved, or how many days it went on. What matters is that you are genuinely contrite. What does your conscience say?"
Jack looks baffled. "Is that a Latin term?"
Philip doesn't answer; he notices past Jack, something is wrong with Syrena --
#3) Jack speaks earnestly to Philip. "Clergyman. On the off chance this does not go well for me. I want it noted now and here I am fully repentant for my sins, and I am willing to believe in whatever I must to get into heaven."
"We have a word for that, Jack. You can convert."
"Mmm, no, not right off, mind you. I'm thinking more of on an as-needed basis."
But Philip isn't listening; he notices something wrong with Syrena --
#4) Jack speaks earnestly to Philip. "Bless me Father, for I have sinned."
"How long since you're last confession?
"What's troubling you, Jack?"
Jack takes a deep breath. "Once, when I was nine, there was a pie cooling on a windowsill. I snuck right up -- and took it."
Philip stares at Jack -- is that it? Jack stares back, sincere. Phillip looks past Jack, notices something is wrong with Syrena --
#5) Philip speaks earnestly to Jack. "No, it doesn't matter how many women were involved, or what common practice is in New Guinea. What matters is that you are genuinely contrite.
"But I'm not," Jack says.
"You could be."
"And the matter of the missing pygmy?"
"What does your conscience say?"
Jack pauses, listening, then ..."Crickets."
But Philip doesn't answer; he notices something wrong with Syrena --
#6) We join Philip and Jack in mid-conversation. Jack is despondent. "...there's no hope for me. Wrath, greed, sloth, pride, lust, envy, and gluttony. I've got 'em all."
Philip shakes his head. "Perhaps not."
"Because but you excel at all the other of the Cardinal sins, you are in no way a sloth, meaning you're only burdened by six of the seven, so there's a chance."
"If not for loopholes, no one would get in."
#7) We join Philip and Jack, silent for a beat, pondering some weighty topic. Suddenly Jack burst out, "Gluttony!"
"Right, gluttony! Of course --"
"What do we have so far?"
Philip counts on his fingers. "Lust, envy, greed, gluttony --
"Don't forget sloth."
"Right, sloth. And envy, that's six."
"You said envy."
"Lust, greed, gluttony, envy, sloth. Uh, I should know these. Oh, and pride! One more."
"Celibacy is not a cardinal sin."
Jack frowns. "I've been avoiding the wrong thing! Do I get credit?"
But Philip doesn't answer, he has noticed something is wrong with Syrena --
#8) Jack sits down beside Philip. "Philip,' he says, "you know those quiet moment of reflection, when you wonder whether or not to do a good deed or some wicked act, a voice comes to you, a small voice, maybe even a whisper from the Almighty himself, and it guides you, lends you a hand, leads you down the proper path?"
"What's it like?"
#9) Jack listens earnestly to Philip, who says, "-- no, it doesn't matter how many women were involved, or which local customs were violated. What matters is that you are genuinely contrite."
"And the matter of the missing pygmy?"
"Depends. What does your conscience say?"
Jack listens, then... "Anything worth doing once is worth doing twice."
Philip doesn't answer; he notices something wrong with Syrena --
#10) Jack sidles up to Philip, speaks in a whisper. "Tell me. When our lovely First Mate over there saved you. You struck a bargain with her, aye?"
"Yes. I faltered, and begged for my life."
"In exchange for?"
"I would attempt to lead her father to the light --"
Philip cuts himself off, he has noticed something wrong with Syrena --
#11) Jack and Philip are mid-conversation, and Jack asks, " How does it work, exactly? We step inside a big closet --"
"The closet is not necessary."
"And what do I say? 'Bless me Father for I have sinned.' Then what?"
"You say how many days it has been since your last confession."
Jack stares. "First timer."
"Then you describe all of your sins."
"Do we break for meals?"
But Philip isn't listening; he's noticed something is wrong with Syrena --
Перевод сцены между Джеком Воробьем и Филиппом Свифтом.
Из дневников Терри Россио, сценариста фильмов «Пираты Карибского моря».
Мы плывем по течению.
We Sail With the Tide - 2010:
На съемках фильма «Пираты Карибского моря: На странных берегах» 1 >>
На съемках фильма «Пираты Карибского моря: На странных берегах» 2 >>
На съемках фильма «Пираты Карибского моря: На странных берегах» 3 >>