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 3 >>
Visitors on set: Sam Ramie, Marc Webb, both interested in checking out our 3D approach. I'm impressed we have a dedicated trailer to show 3D dallies, and it's essentially a rolling movie theater. 3D dailies seem dark. 3D Dave is not happy with the look, but doesn't want to say anything, tried it a few times and felt he got his head bit off. He is afraid they don't want to make a 3D movie.He schools me a bit in the art of 3D filming, and it's fascinating, intense light and dark edges, the contrast creates ghosting. Dave says that contours are better than flat surfaces.
On stage, swaying lights above the set, to make the ship deck appear to be movie. But they sound like bed springs squeaking, vigorously.
At Chinese food dinner, Johnny tells the story of sitting with Keith Richards, drinking coffee, looking at the sugar cubes, not sure whether to choose the white or brown cubes. "Pick the brown," Keith said. "You sure?" Johnny asks, and Keith nods. "I wrote the song."
It's impressive how the video village gurus can multi-task; sometimes they're asked to look up archival footage while playing back select shots from a variety of live cameras (in order to match performance, blocking, etc.) The control software interface has "a" and "b" camera icons for quick playback. 3D adds an extra layer of complexity. Flat out impressive what they do.
Los Angeles film set, the mermaid cove, a full-scale replica of the FROM HERE TO ETERNITY cove in Hawaii. A couple of celebrity visitors come to the set: Sam Ramie, checking out our 3D rig, and on a later date, Marc Webb, who was curious regarding the 3D and impact on the production process. Behind schedule or not? Charlie Gibson shooting a lot of effects, George Ruge shooting a lot of stunts, someone points out, it doesn't count as making the day if you need 5 extra days of 2nd unit for shots you missed.
Кадр из фильма «Пираты Карибского моря: На странных берегах».
Overhead discussion among the assistants, I think it was Jerry or Johnny's or both, regarding an all-night dinner at a certain restaurant that ended with a $7000 tab... they are trying to avoid picking the same restaurant again, so it doesn't happen again... the wine bill alone was $4000.
Night shooting, 2nd unit, birthdays being celebrated, everyone is a little giddy. Ran into my friend LeJon on set, a pirate on the prior films, here working background. LeJon may just be the nicest human being on the planet, he is always in a good mood, always a smile on his face. I should be more like LeJon!
Show Jerry my favorite apps on the iPad. Tune In Radio, Texas Hold 'em Poker. Amazed when Jerry admitted he doesn't know how to play Texas Hold 'em.
Late at night at Universal, napping, get called to set. Issue is mermaid names, trying to find one that Rob likes. Name will be spoken, as this is the one that slaps Johnny. On my way, get really dizzy and also weirdly cold. On set medic calls an ambulance. Get oxygen. Likely causes are the antibiotic prescribed by fertility doctor, not to mention weird hours of work. Embarrassing to leave set on a stretcher but you have to let people do their jobs. Of course I started to feel better upon arrival at the ER. By then it's too late, though, they won't let you go without tests.
Keith Calder and Jess Wu come to visit the Los Angeles set. Discuss our mutual love of PIRANHA 3D, all the mayhem and various bloody deaths. Somewhat similar to the mermaid attack scene being filmed that night. Keith notes, "You have to have some people you don't mind seeing die."
Amazed that the re-created Hawaii cove set has a breakaway wall, which is an entire section of rock-face that backs away about 30 feet on tracks. When closed, the cove is realistic 360 degrees. When open, it's like a chunk of reality has been pulled away. It's always cool to be on the Universal lot, especially when Stephen Graham comes by with a stolen golf cart, and you can go exploring. He drives like a maniac.
I love that there is a Steven Spielberg drive. Something I hadn't seen before, the WAR OF THE WORLDS set, wreckage of the downed airliner, absolutely chilling. Of course the classic PSYCHO house, reportedly the location of many a late night tryst. Explained to Stephen the small western town had been built on a 7/8 scale, so the actors would look larger. Took his picture in a pine box coffin. Good times!
Sometimes it feels like I'm in the film business, the way you imagine the film business to be. Meeting on "Magical Law" at the Fox Network, with a car waiting to whisk me off to the Bruckheimer jet and fly to San Juan, Puerto Rico. Don't let me ever complain about this career ever again.
Amazed that a team of horses can be induced to gallop full speed up an incline, pulling a heavy carriage, in between pillars of fire. That quick establishing shot is a lot more dangerous than it looks on film, to achieve a sense of excitement and intensity, the carriage has to travel faster than it is designed to travel. It's one of those shots that will never look as good on film as it does it real life... the evening sky, exotic location, people all around, even the camera on a crane climbing high in the air. Magic!
I have to make a decision to fly back to London with the production, or return to LA. I explain to Mike Stenson, there are various factors, but Jocelyn has a medical procedure, so the choice is LA. Also meeting with Gore Verbinski. And then there is the issue of 9/11. "What?" "Tomorrow is the anniversary of 9/11. Who wants to fly to London on that day?" Mike: "Oh shit!" He gets on the phone and changes his flight to one day later.
On the beach, Mike Stenson stands very still looking at the sky, as if Michelangelo had sculpted a 50-something burning pink Irishman, and pronounced, "I am enchanted by these clouds." And they were gorgeous. I tell him the fantastic Heinlein story of Rhysling, blind poet of the spaceways, and the poem he writes while dying which ends, "Let me rest my eyes on the fleecy skies, and the cool green hills of earth." Mike seems enchanted.
Two local-hire production assistants know rain is coming in 15 minutes, though the production is banking on clear skies. Just a few clouds in the distance, nothing to worry about. I ask, how do they know? Severe temperature drop. Fifteen minutes later, it's pouring.
Speculation on how to deal with the Penelope Cruz pregnancy. Face replacement technology to achieve face squeezing?
Issues with the travel department. I convey that I need to fly back to LA that evening, due to a planned medical procedure. They come back with a flight the next morning. What part of evening is not clear? I go to the trouble and expense of booking my own flight. You can get reimbursed by the production for this sort of thing, but I can't imagine sending an invoice... I figure, if I turn down their offered flight for personal reasons, I don't have the right to charge them as well.
In Puerto Rico. I need to sneak away from the set early, before wrap, you hope for a little luck to be on your side, for it not be too obvious. Not this day. The movie gods decided to exact their revenge. I had to leave early in order to make my flight. So I did everything right. We were shooting on a tiny island, so I worked out with First AD and transportation that I would need a boat back to shore. Then a car to airport. Tight schedule, I would leave at a moment's notice. If the shoot required it, or something went awry, I would stay and miss the flight. This was a flight I had paid for, not the production. There were certain things I had to do. Talk to Jerry regarding changes to the scene. Done. Discuss basic concepts regarding PIRATES 5 with Johnny, done. So far so good. Attend the rehearsal. Wait until they shoot the master shot, all right, everything locked. Grab backpack, call for the boat. Boat arrives, slip away. Free! Then, boat stops out at the floating dock. I'm told to get into second boat. Okay. Waiting. Waiting. What's wrong? Local transpo guys don't know the plan. I demand to be taken to shore. Flight to catch! All right. Everything's fine. Boat pulls away... and heads back to set! Oh no. Captain says they have to drop off ice on set, then they will take me. Here I am, sitting alone in the middle of this huge red longboat. Thundering outboard engine. Maybe no one will notice. They're shooting another take. And the captain, for the first time ever, drives straight into the shot, ruining the take. What the hell? The First AD, compelled to explain the situation, announces via loudspeaker, "Writer going to hotel! Writer going to hotel!" The captain, confused, lands us on the sand next to Johnny and Penelope to discuss matters. Director, producer, camera team, actors, everyone, all glare. I wave.
I ask the powers-that-be for a one-shot teaser trailer for ON STRANGER TIDES. I think audiences are bored with the sameness of film teasers, the quick-glimpses, the fade-to-blacks, the flurry of action shots, the one-liners, the held single note of music at the end, etc. Fine to do all that with the main trailer, but why not do something different for the teaser? I recall when DIRTY ROTTEN SCOUNDRELS released a trailer that was just Steve Martin and Michael Caine walking past the camera on the street of a seaside village, and then Steve Martin gently pushes an old lady, toppling her into the ocean. I don't think that scene ever appeared in the film, but it captured the essence of the film, the essence of that character. Why not do something like that? Present a completed, representative scene, or even write a new scene, something that explores the world we're creating, enhances the story, creates a sense of mystery? And more than anything, just something different.
Chatting with Travis from the stunt department, discovered he's friends with director Chris Weitz (whom we worked with way back on the DreamWorks picture ANTZ) and that Chris is a fan of Burning Man. I've attended several over the years, even put together my own theme camp: the Chain of Thought Video Experiment. (Our gig: hand out cheap video cameras and ask people to film three minutes of the burn and then pass the camera on, and when the tape was full, send the camera back to our camp, then edited the footage into a documentary.)
Early 'friends and family' screening of the film. Story holds together very well, people are all smiles. Various changes needed, one of them is the final line of the film, "It's a pirates life for me." Johnny absolutely wouldn't say the final line, instead went for a repeat of the 'I'm Captain Jack Sparrow, savvy?' But of course we've heard that before. Good news, the line is back in, Johnny has agreed to record it via ADR.
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 >>