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 2 >>
We Sail With the Tide - 2010. Из дневников Терри Россио. Часть 4 >>
Shooting in 3D, there has been a proliferation of monitors on set. It used to be the monitor tent was called video village. Now it's video city.
The monitors in video city have turned flat screen and have also increased in size. Also they convey more information, regarding the take, exposure, lens. A far cry from when Jerry Lewis invented the first video playback by taping a video camera onto the traditional film rig.
Light in the jungle is friendly, magical, but short. Afternoons disappear more quickly, putting more pressure on a day shoot. But at night, when morning looms, the darkness lasts a bit longer. Amazing what you can get in the can in the last half hour of a night shoot, with the jungle waking up around you.
Rob says Stephen Graham is out of his mind. In a good way. He repeats a conversation he had, what Stephen was thinking in the background of the glass coffin scene. Stephen didn't have any lines, but he still wanted to be in the moment. "So first I'm thinking," Stephen says, as reported by Rob, who is cracking up as he tells the story, "are mermaids' vaginas mushy? Later I felt sorry for her, but at first, all I wanted to do is see the mushy." Rob repeats, "See the mushy" a few times, again cracking up...
Dinner with Jerry. Amazing hotel restaurant right on the beach of Waikiki. Definitely the best table. Chef sends out a special appetizer. Talk about various elements for the next pirates sequel. Jet lag kicks in, Jerry falling asleep, or maybe my voice is lulling him to sleep. Jerry perks up and tells the story of how Pat Riley (the two are acquaintances) targeted to get LeBron James for three years. He recruited Suze Orman to talk finances, advantages of living in Florida, no state income tax. Alonzo Mourning gives a tour of the city. Chad relates a story about Riley: on another film, a basketball picture, GLORY ROAD, doing research, Riley remembered every play, every player name, from a college game over 30 years prior.
So it's official: Penelope Cruz got married! Large CONGRATULATIONS banner on the deck of the Queen Ann's Revenge. Of course, that further fuels the speculation, is our leading lady pregnant?
Кадр из фильма «Пираты Карибского моря: На странных берегах».
Plenty of traffic woes in Honolulu. Returning to the hotel, one can't park the assigned car in the assigned spot. The lot is full even if the sign says there are spaces, so what happens is, you enter the parking garage and then get stuck with a bunch of other cars and can't get out. If there's no spot outside near the hotel, the one-way streets mean you have to circle instead of make a U-turn, and whether it's a right or left, you have to wait, you can't get through the streaming crowds at every corner. But then again, a lot of the woman are hot and wearing bikinis!
Received a wonderful ukelele gift from Chad and Mike for my birthday. Kauai is known for their construction of ukes, a several members of the crew have purchased one. It also came with a nice card... signed by each, but of course only one is ever in town at once, and the gift was likely purchased by an assistant. "Who forged the signatures?" I tease. How sweet!
I arrive on set, along the Oahu coastline... and see there is a huge rain machine looming in the sky. Rain on a sunny day! As it sprays, we have to dash, and hide in a cave to not get soaked. McNally tells the story of re-enacting the kiss in the sand scene from FROM HERE TO ETERNITY (it's the same beach). Rain flying into the lens... I'm wondering, what crazy person decided to set this scene in the rain? It's a lot to pay for atmosphere. It's the scene where Barbossa comes ashore and they find the dead mermaids. Then it hits me. For the mermaids to not be in their human form (bunch of dead naked females lying around) the mermaids have to stay wet... and the only logical way for them to be wet would be for it to be raining. That's why it's raining! It's it the script! That I wrote! A decision I made writing the first draft, about a year earlier!
On set, at the beach, actually used my cheat sheet today! The cheat sheet is list of period sayings, nomenclature, ship commands, insults, British slang, local Caribbean words and places, interesting turns of phrase, sailing terms, lines cut from previous screenplays, curses and exclamations. I have them on my iPad, pre-arranged in categories, so when an actor needs an alternate line, I've got something to work with.
A new concern: special mirrors used in the 3D rigs are being corroded by the sea. Apparently nobody has ever shot this much 3D on location, and near the ocean as well.
Chad Omen is upset about the financials on THE SORCERER'S APPRENTICE. Looking at the numbers and the projections, he says, "Each time I think it's as bad as it can get it gets worse." And he also doesn't appreciate the Jerry-Bruckheimer-has-lost-his-touch entertainment news articles. He points out the project was handed to them, and that the director was handed to them as well (over their misgivings) and that the casting was done without them, and that the advertising and marketing was done by newbie Disney execs without a marketing department in place. No matter, as far as entertainment reporting goes, blame will fall to Bruckheimer.
Noticed gaffer Rafi Sanchez on set, timing the sun behind the clouds, when they arrive, and how long they are likely to stay. Camera department making f-stop adjustments accordingly. Is this odd for a gaffer? No, it's good practice, Rafi plans on becoming a cinematographer.
Chad tells the story of surfing Waikiki beach at night in moonlight, all the shadows look like sharks, the surfers wear glow sticks. I am freaking impressed he would go out and do that.
My experience surfing: Jocelyn and I go out for surfing lessons. The waves are pretty high but oh well, we give it a shot, you don't get that many days off. Jocelyn is up and riding them in right away. I don't do so well -- I'm too worried about getting in the way of the better surfers further out, or worse, slamming into someone closer in. Also it's a super hot day, and if you're not used to paddling, it can get quickly exhausting. My instructor pretty much gives up on me and I take a break, just relax on the board, which is pretty freakin' great, Diamond Head in the distance, I feel like I'm visiting a place for the first time that I've been to many time before. Next thing I know, I look up, and I have pretty much drifted out to sea, the shoreline is now a distant blur. Great White Hunting grounds, I figure, so I try to paddle in, but the tide keeps taking me out further! Panic. The more effort I make, the greater the effects of the sun beating down. I think about getting off the board and hiding under it for coolness and shade, but that also seems like a bad idea, what if I pass out in the water? In humiliating fashion, I signal another surfer, who comes out and helpfully tows me back in. Easiest place in the world to learn surfing and I nearly die, I am a disgrace to my water Zodiac sign.
Mike Stenson tells the story of "30 seconds of fish flopping." For the fishing net scene, pulling the dead man out of the water, the original idea was to use real fish, and when the net is spilled open, have them flopping on the deck. But of course that requires the presence and approval of the American Humane Association, Film & TV unit, who would require a special handler for the fish to not be harmed, and it turns out the only approved fish would have to be shipped in. Decision was made to go with plastic fish.
Read the screenplay for MEN IN BLACK 3, amazingly good, and by that I mean I couldn't have written it that well. Sent notes and ideas to Walter Parkes via e-mail.
Jocelyn walks the beach early in the morning, talks to a teenager who looks to be homeless, with seeming psychological issues. She gets his name. Turns out he's a missing person. Jocelyn tracks down and contacts his mother, living in Wisconsin, who is grateful for the knowledge that her son is alive, she has no idea how he made his way to Hawaii. We continue to monitor his well-being on her behalf.
Penelope Cruz announces what has been obvious for a while -- she's pregnant. Celebrate with a bottle of wine. Huh? But new research shows consuming moderate alcohol during pregnancy is all right, maybe even advantageous.
On Kauai, Jocelyn and I try to track down Linda Lichter's beach house (she's our entertainment attorney) but we can't figure out a way into the gated community. It's too far to reach by hiking along the public beach. But it wasn't a total loss, we find a stray dog, and manage to help it find its way home.
Night shooting on Oahu along the North Shore, the Black Pearl is moored rather prominently in the harbor, which draws fans, waiting for Johnny's arrival every evening. And by fans I mean a thousand or more. Over time the production team has devised a system, and it works incredibly well. In the parking lot, the PAs rope off a section for fans to wait. They announce via megaphone whether or not Johnny is working that day, and his approximate time of arrival. Johnny's entourage arrives, and he exits his vehicle in full Jack Sparrow costume, to screams and camera flashes. He then takes about a half an hour to 'walk the line', shaking hands, chatting and posing for pictures. He waves goodbye, bows, and moves on to the set, and the fans are told to go home, and they do -- quite happy.
One day Disney exec Rich Ross was visiting the set, he's on the Black Pearl, and I made sure to escort him back to where the fans are waiting, timed with Johnny's arrival, so he could see the craziness. Rich is blown away.
I'm sort of secretly delighted that I can hang out with the fans, walk up and down the line, chat, even with my set badge on, and absolutely nobody recognizes me, or would have much of a reaction if they did.
One night, Johnny waits for hours to shoot his shot, but we don't get to it, so he gets sent home at 5 A.M., has to come back the next night. "He spent more time walking the line than he did shooting," notes one of the ADs.
Rumor on set: last night, at some local bar, actor Stephen Graham had to be pulled out of a fist fight. No one is surprised, yes, Stephen is perhaps the nicest guy on set -- and also lives life large, every minute.
Extra day needed for the dance scene, which has budgetary implications, as it affects the company move off the island. Pushing as many shots as possible to London. Mike Stenson gets Rob to absolutely promise he'll make the night, then Jerry undoes the work, gives the okay to go over, if need be. Tough for Mike, hard to be the bad guy when your boss decides to be the good guy.
Trivia for PIRATES fans: the original name for the Providence, Barbossa's ship, was to be the Perseverate -- an homage to the dangers of shooting sequels, how do you know when you've overstayed your welcome? Also, the real name of the Queen Anne's Revenge you could say is the Black Pearl, because the Queen Anne's Revenge was built over the Black Pearl, but then again the Black Pearl was built over the Sunset, which was the original ship, providing the hull and mechanical guts for each.
I'm told I have to pitch a PIRATES 5 movie in three hours, along with our epic science fiction space adventure LIGHTSPEED. My reps are in the middle of negotiating the deal on both pictures, so the pressure is on. I have to leave set. Rob is amazed they put me through this sort of thing. "Rise to the occasion," he says.
I pitch a "Pirates of the Caribbean" television series to Jerry, mostly to avoid one of those awkward lunchtime silences. Jerry loves the idea, mentions that "Tim Tyler's Luck" is one of his favorite old movie serials, based on the comic book. Jerry gets on his phone, calls Disney expert, asks to run numbers right away.
Same lunch, what the hell, recommend a cool book to Jerry, for a film or a television series: "Priceless," by Robert K. Wittman. Set in the world of art crime.
Met Pat Riley on set. He's just orchestrated the deal to bring LeBron James and Chris Bosh to Miami. As a Laker fan since the days of Jerry West (watching with my Dad in the early 70s) it was quite an honor to meet a former player and coach. He's very tall. I guess he and Jerry are friends, I know Jerry has a condo in Miami. We chat a bit about screenwriting. I try to refrain talking basketball, so as to not say anything stupid.
Hate to lose the 'line up' scene... where Angelica goes down the line of sailors and picks the ones to put in the boat, the ones she thinks will be most attractive to the mermaids. I understand the need to make cuts for budget and for the momentum of the film at that point. But it's a scene that features Angelica, and also some of the supporting cast members. It must be hard for those actors to have only a few moments on screen and see them cut down. I propose, is it possible to move that scene to the dock? The cut is made, but I spend the rest of the film trying to get the scene back in.
Another scene I campaign for: before Jack is spilled out of his hammock on the ship, a 'gentle' (and eerie) scene where he wakes up in transit, coming out of his drug-induced sleep, swaying in the hammock, not knowing where he is, surrounded by strangers, and being watched over by zombies in the moonlight. How does he deal with that? Goes back to sleep. The scene would only take seconds, and add to the artistry and mystery of the story, and give a moment of quiet in between all the action, conflict and mayhem. The set already exists, there was always the chance of getting it at the end of day, but alas, shooting went over, and it was not to be.
Rob feels the rhythm of the film needs a 'scare' moment approaching the Fountain of Youth. Most logical place is in the cave, a falling stalactite gag. Long discussion as to whether it can be achieved as a practical effect in time. Finally decide to abandon practical in favor of CGI.
Funny image in the cave set. People all standing clustered in the one and only place where cell phone reception comes through.
NATIONAL TREASURE 3 meeting today. Difficult to tell Chad Omen (in from Los Angeles) that the whole approach kind of doesn't work. I warned him I had "Five things you don't want to hear." He says start by saying what you liked. He said the writers had been let go the day before. And by the way I think the writers are good, I believe some concepts can never work, the whole Tesla thing is on my list of elements to avoid. A better approach would be the TRUE LIES model, where Ben is already working on a project for the President as an investigating spy, and the other characters are deep cover. But there is talk that the downward spiral of Nic Cage's career perhaps makes the whole effort moot.
Pete the driver smacking gum endlessly, with that start-and-stop style of driving, forcing everyone's heads to flop forward and back, and there's plenty of traffic, had to get out of the car and walk.
Major Fail at Pinewood studios, the catering is not up to the usual standards. When you get to the tent, there is a long line to get to the food, often outdoors in the rain and cold. After working 6 hours and with only 45 minutes for lunch, is it fair to force the crew to wait in line 20 of those minutes? Next, rather than filling one's own plate, the food is doled out by the staff, sometimes too little, sometimes too much. Susan (my assistant) points out, some things cannot be fixed, but some things can. Why put the plates and silverware in the one place you can't get to, because it's blocked by the line? Why have a grill outside with yummy items cooking, but only enough servings for a few people, and not everyone? Why make people wait in the rain?
I love the word gibbet, as spoken by Geoffrey Rush in his scene with Gibbs, but the set has been built without gibbets, so he logically wouldn't say the word gibbet. Have to revise the dialogue. Maybe ask Geoffrey to deliver the threat to Gibbs with a bit of a sing-song, as he did threatening Elizabeth in the first movie? "Hanging here dead with a mouthful of flies" has a certain iambic pentameter lyrical quality...
Chat with Chad, knock around a software idea for a graphics-based people-management program (called TABS). Why are address books trapped in the stone age? The world needs this program!
Charlie Gibson & Co. have at times used pre-vis as a tool to pitch ideas not in the screenplay and not approved by the director. But this is the most expensive way to pitch an idea. Then there is more disappointment if the idea doesn't fly. Puts Rob in a tough spot, a lot of his job is putting out fires burning in the wrong direction. He had to point out that the pre-vis was different than what was planned. Frustrating for all, because the ideas are actually good, just can't be used in the context of the overall production.
Commuting back and forth from Greenwich on the Thames, talk to the different captains, learning about the river. It does have tides, at least partway up the river from the North Sea, seemingly about five meters between high and low. The commute is definitely longer headed home, going upriver against the current.
There are strict rules regarding taking photographs on set. So Jocelyn is riding on the Tube one evening, siting next to an extra, who is showing photos on their camera phone. She casually flashes her crew badge... if you're going to sneak photos, don't broadcast it in public!
Our London driver, fellow named Pete, hates that the Olympics have come to London. He says it makes no sense, to divert money away from local filmmaking projects for two weeks of sports. And the workers who are getting the construction jobs are shipped in from other countries. He sees the Olympics as the reason his transportation company went bankrupt.
How cool is it to know that Judy Dench's ring tone is the 007 theme?
Exciting that Judy Dench is on set, for a brief cameo inside the carriage, playing the role of the Society Woman. Originally Jack was going to kiss the hand of the Society Woman, and then we reveal later he stole her ring. But the ring prop seemed to conflict with the ring Jack stole from Tia Dalma, which he returns in the dancing scene with Angelique, so the item was changed to an earring, which he steals while kissing her ear; if you look closely, when Jack is atop the carriage, he swallows the stolen earring. Ironically, later, the returning-the-ring-to-Angelica moment was cut!
Since we know that we've got Judy Dench, it seems a shame to not give her a line in the carriage. It's a very quick scene and quick moment, but there is an opportunity for a single line from the character -- perhaps even a single word. Likely Judy would ad-lib something, but Rob requested some alts just in case, so I put together a list to choose from if needed:
#1) "Well I never! All right, maybe once."
#2) "How dare you enter my carriage!"
#3) "How dare you -- leave so soon."
#4) Sees Jack, is startled. "I beg your pardon!" Sees he is cute. "I beg your pardon."
#5) Sees Jack, is startled. "Oh, dear!" Enjoys the kiss. "Oh, dear."
#6) "Dinner at eight?"
#7) "Next time I'll expect flowers and candy."
#8) She sees Jack, is startled: "Oh my!" Then sees he is cute. "Oh, my."
#9) "Dear Lord!" Eyes upwards. "Thank you!"
Перевод сценки с Джуди Денч.
Commute along the Thames at the end of the day to avoid London traffic, several boats are used. Usually the director and camera crew make the first boat, a concession that their workday continues into the night, viewing dailies and planning the next day. I would often hang back for the second boat. One night overhead the Captain boasting that the boat we were on was previously owned by Pete Townsend.
Mike Stenson relates with great mirth the rumor that HANGOVER got an R rating because the MPAA board members who watched it didn't stay through to the end credits.
Weekend side trip, off to Wales to see the Ryder Cup. There's been one good day of sun for the tournament and it looks like we've got it. After a cab ride and a train ride and a bus ride, we crest a hill just in time to look across the fairway and see Tiger Woods tee off, the ball sailing over our heads. At the Ryder Cup, fellow pirate Greg Ellis smuggles his cell phone into the event inside his umbrella, and hooks us up to visit the NBC suite, where Michael Jordan sits watching the video feed, informally calling out a play-by-play.
It occurs to me, that between Depp, Woods and Jordan, in the last 24 hours I've seen in person three of the most famous human beings on the planet. At the Ryder Cup, out onto the course we take up position at the end of a par three, where we get to see the drives land, and then watch the action on the green. Several long putts land, including Rory McIlroy and Phil Mickelson sinking 20-footers for birdies.
Shooting in London, the carriage scene, I noticed paparazzi trying to get a glimpse of the action, and take shots from a distance. I felt sorry for them, all they wanted was a shot of Johnny Depp, and I knew today's work was all stunt people. So I went out, took a bunch of photos of them (for some reason I thought that was funny, taking shots of paparazzi) and then let them know Johnny wasn't scheduled.
Continued struggles getting the film's trailer to be decent.
Interesting to read Rob's notes. "Take out bird squawk after Jack scream." "Don't reverse shot of Jack." "Add a few seconds to the cave entrance." "Take out overhead shot of fire pit." Somehow, the bird squawk stayed in, which is okay by me, yes, arguably of the "Gilligan's Island" school of humor, but it was subtly enough done and made me laugh.
Took the time to enter a response on the Keep to the Code message boards. Had to point out that the screenwriters are not uniquely responsible for the Jack Sparrow character; interpretation and performance are in the realm of Depp and the director, and sometimes content as well. As important as the screenplay is, you can't control a film at the script level.
Learned a few things from one of the animal trainers. Horses are pretty smart, they start to anticipate their marks when they hear "Roll camera," not waiting for "Action!" And one horse's bad habit is quickly picked up by others.
Cats are easily trained using treats, but once they are full they are useless. So you overfeed them a bit prior to shooting, to make them think they are hungrier than they are. In the course of production, there are some attempts that just don't come off as planned.
The Fails start to pile up. Fail on the dead sailor pulled out of the water actually looking dead. Fail on getting the evocative opening shot, the carriage riding over the water in the mist. Fail on getting the long shot of Jack dancing on deck under the stars. Fail on Ponce de Leon skeleton matching the skeleton in the ride. Fail on Jack seeing the driver of the carriage as the driver is paid off. Fail on the delay form of the joke, "No" as an answer to Gibbs, "All part of the plan, yes?" Fail on the look of the Fountain of Youth, the action jumping from rock to rock over deep waters. What to do?
In one case, I had to just walk away from the set, and go for a walk. Ended up in the Hampton Court maze. Appropriate...
Chatted with a film geek on set, who clued me in that our GODZILLA screenplay was being made into a graphic novel by an artist fan online. He noticed the reference to Jim Hawkins' father in DEAD MAN'S CHEST. I was impressed.
This is the film where the phenomenon of dueling portable mobile electronic devices has become ubiquitous. Used to be that the executives would whip out their Blackberrys and debate who had the latest and greatest. But now everyone, actors, production assistants, agents, directors, any time there is a meeting on any topic, the iPads and smartphones appear. Even bragging has evolved; it used to be about who had the latest device, now owners crow about the excellence of their various cases and covers for their Blackberrys and such, or, they get into apps-oneupmanship, my app is better than your app.
It's great we can see dailies in 3D, important to check for brightness and seeing the effects of convergence choices. But you don't get to hear the sound! Phone call with Gore, regarding the "Magical Law" television show pilot.
Jeff threw out a couple of suggestions I disagreed with... introduce Tooks early in the story just to 'set up' the character, etc. I'm all for formula, but don't limit yourself to only a few, and you have to pick the right paradigm for the story need, and there are story paradigms that are rarely used in television. Sitting there writing the fable section of "Under the Faerie Moon," a graphic novel, on the set of ON STRANGER TIDES, doing that call, I guess that counts as multi-tasking.
Conversation overheard, Chad Omen arrives in London and starts criticizing, Line producer Barry Waldman counters, "Chad, wait till your second day to hurl insults, we've been in Vietnam for a while." Hit Chad with the need to fix the opening shot of the film.
Kinda weird discussions with Jerry on the film's teaser trailer. He just shrugs like there's nothing he can do. C'mon, You're Jerry Bruckheimer! Odd defeatism in place at the moment when it comes to advertising and marketing. But then, Jerry is the expert at choosing his battles, and more importantly, choosing the correct moment to fight.
What's going on with Jerry and food? He has full plates sitting in front of him at lunch, every choice from the buffet, but then picks at each plate. Jocelyn's theory is that his nutritionist is insisting on variety, and he's getting it, because his plates are put together by his assistants. But then he picks at it, not really enthused. Or maybe his assistants don't know what he wants, so he gets a little bit of everything.
Script Coordinator issues in London. Absolutely astonishing the difference in crew work ethic from the States. All changes are marked automatically with asterisks, so the pages with changes can be easily found. Creating a pdf of the script changes is easy, just print the pages with asterisks. Takes a few seconds. Script Coordinator's response to this talk is to call and ask that I pick out the pages for him. Because he doesn't have the time to "look through the entiiiiiiire script" and find the changes himself. Wow.
The bag that holds the vial with the tear looks like a small scrotum; twice Steve drops it into the water, then has to put it in his mouth... when Johnny gets it, he holds it away from his body like a dead thing.
Working through final dialogue in front of the Fountain of Youth with Johnny Depp, Penelope Cruz, Rob Marshall... kind of fun, and then it hits you, you're standing there working through dialogue with Johnny Depp, Penelope Cruz and Rob Marshall. What?
Amazing, in London at the Greenwich location, they actually built temporary horse stables, to house 60 horses!
Planned a trip to France for the weekend, with Jocelyn, the small town of Honfleur, which means missing the location scout. That's a big difference between writer and director, sometimes you can try to slip a bit of living your life in the course of production, if you're the writer, not possible for directors.
Dinner with Johnny at über-fancy Chinese food restaurant in London, there to aid Justin Haythe pitch changes THE LONE RANGER project. Not that he needs any help, but it's the polite professional thing to do. Round table, I'm the last to arrive. Mike said they were talking about me earlier and that Johnny said this is his favorite script. "I'm enjoying it, I always have something fun to do in every scene."
Same dinner, Jerry Bruckheimer really lights up when wooing Johnny, I got to see the producer salesman side of him, for maybe the first time. He tells a racy story about shooting a film in Aspen back in the day with his partner, Don Simpson, who "loved the ladies" and requested 10 call girls from a local madam, and they couldn't figure out why one of the crew members didn't seem interested in any of them, and that's how they found out he was gay... doesn't sound like a funny story but the way Jerry told it was a crack-up.
So Justin turns out to have an encyclopedic knowledge of rock and roll among other things. He and Johnny are huge fans of The Band... well so am I, and I can quote lyrics, but he knew band member names and other albums they recorded, where they grew up, musical influences. I was in awe watching Justin work, I don't think I've ever been that suave.
Michael Singer set up a public relations meeting with a group of reporters to promote the film. Chatted with them, they so very much wanted to ask the question, "Why did the earlier two sequels suck?" But they were too polite to come right out and say it, so they danced around the issue. One of them put it this way, "You're aware the previous films have been deemed too complex." I threw it back at them, why is it that a summer movie can't have the same level of complexity as an average episode of "Law & Order"? Or a Disney animated feature? Or LORD OF THE RINGS? Of course they had no answer -- only conviction that they were right. And you can't fight conviction with logic or facts. The other point I made with that group: odd that critics in general would be willing to admit that they didn't want to have to pay attention. It doesn't speak will for them, especially when the typical 10-y.o. can easily follow and enjoy our storytelling. In any case, like most world-building franchises, we make the films for our fan base, who loves complexity, and clamor for more.
Из дневников Терри Россио, сценариста фильмов «Пираты Карибского моря».
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We Sail With the Tide - 2010:
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