This is Keira Knightley, and I play Elizabeth Swann.
- And I'm accompanied by... - Jack Davenport.
Who, in equally dulcet tones, plays Commodore Norrington.
- It's a good beginning. - [Kiera] It's nice beginning. Ship.
- Isn't that pretty? - [Jack] Isn't it pretty? And not real.
[Kiera] Shh. Don't tell them that.
- [Jack] Already? - [Kiera] Spooky. Look, look.
- Mini me. - [Jack] Very small version of Keira.
Strangely singing at the front of a boat.
- [Kiera] She does it very well. - [Jack] What sort of child does that?
♪ Yo ho a pirate's life for me
We extort, we pilfer We filch, we sack
- Drink... - Quiet, missy!
Cursed pirates sail these waters.
[Jack] Kevin McNally's magnificent sideburns.
[Keira] Mr. Badger.
Look, you're so sexy. Look at you.
[Jack] The quality's arrived. Someone's come to save the sea.
In terms of character development, the major development
is that my hair changes color halfway through.
In vague seriousness about my character,
cause I better get this in before Keira turns up and dominates the entire film.
- [Keira] Naturally, darling. - [Jack] Naturally.
In terms of developing a character,
what was important to me was,
as it indicated from the early scenes,
Norrington does have a long-standing
relationship with Keira's character
in that he knows her as a child.
So, when we get further into the story, and he becomes engaged to her,
that was the most important thing to hold onto.
Because it's that relationship which gives my character any sort of
complexity.
He's not just the shouting bloke
in a triangular hat.
That was important to me.
Look! A boy! A boy in the water!
Man overboard!
Man the ropes! Fetch a hook!
Haul him aboard!
He's still breathing.
Mary, Mother of God!
What happened here?
Most likely the powder magazine. Merchant vessels run heavily armed.
Lot of good it did.
Everyone's thinking it, I'm just saying it.
Pirates!
There's no proof of that!
It was probably an accident.
Rouse the captain immediately.
- Aye. - Heave to and take in sail.
- Lower the boats. - Heave to!
Elizabeth, I want you to accompany the boy.
He'll be in your charge.
Take care of him.
[Jack] That's a good effect, if you'd seen what it looked like in real life,
the burning boat wasn't impressive.
[Keira] Mini Orlando.
And the look of love. Can you see that?
- I think she's... - [Jack] Yes.
This child is better spoken than you are in real life, which is upsetting.
- [Keira] Stop it. - [Jack] It's true.
There's a few lines later I'll refer to.
- [Keira] Don't. - [Jack] I will, don't worry.
Can your hair do ringlets like that?
[Keira] No. I never got the ringlets. Look, she's all pretty and girlie.
- Pirate medallion. - [Jack] Aztec gold!
[Keira] Arrgh. Look, it's you again.
[Jack] They put the money on the screen again.
[Keira] Just stop it. It's you being all commodore-ish again.
- [Jack] I'm a lieutenant. - [Keira] You're not a commodore yet?
[Jack] In terms of research,
which was incredibly wide-ranging...
- [Keira] I'm sure. - [Jack] ...naturally.
For this part of the film,
I was adopting a more subservient tone in my performance.
[both] Oh, no. Look.
[Keira] Stop talking, shut up.
Ooh, ghostly.
[Keira squeals]
- And here she comes. Here she is. - [Jack] No, it all goes downhill.
[Keira] Yes, a bit of pouting. Looking around.
It's all right, everything's okay now.
The commodore or lieutenant is no longer on screen. It's fine.
- [Jack] The class has arrived. - [Keira] Definitely arrived.
[Jack] You should have given that a polish.
If you're gonna leave it in your drawer.
[Keira] It's spooky and covered in stuff.
- [Jack] No, you say that now. - [Keira] Look at my hair. Curly, nice.
[Jack] The amount of time it took to get her hair looking like that.
- [Keira] It's fake. - [Jack] The cost of the extensions.
Small West African countries could've kept running
for the cost of your hair.
[Keira] Took 12 hours to put all that in my head. Twelve hours, coloring.
- [man] Are you decent? - Yes.
Yes, put it down there. And he's got gray hair. Still curly.
- [Jack] See what they did? - [Keira] But gray. He must be older.
- [Jack] That shot... that's fake. - [Keira] We did this in a studio.
- [Jack] That's impressive. - [Keira] It is. Nice dress.
[Jack] It was the first moment I gasped
when I saw this film, when she opens up the windows.
- [Keira] It was a green screen. - [Jack] It's very beautiful.
- [Keira] He looks nice. - [Jack] Doesn't Jonathan look lovely?
Like he's gonna knock out a piano sonata at any moment.
[Keira] We're about to be introduced to my corset.
It's gonna come nearly now. I'm feeling it.
It hurt a lot. Are we going to... There it is. The pain.
[Jack] It should be pointed out, Keira, in your fittings,
you showed off as to how small your waist could actually be,
not thinking you'd have to wear this for up to 17 hours a day.
[Keira] I think it's called being really stupid.
My Lord, you have a visitor.
I'm Jerry Bruckheimer, producer of Pirates Of The Caribbean.
We're the ones who put it all together. I'd worked with Orlando Bloom
in Black Hawk Down, and thought he'd be a movie star.
Pitched him Pirates when we were in Morocco making Black Hawk.
Then ran into him again in Japan when he was promoting Lord Of The Rings.
I said I have this movie that you'd be fabulous for.
Fortunately for us, he read the material and liked it.
He also heard about it from Geoffrey Rush,
who we were negotiating with at the time.
He liked that they were doing a picture together. That helped us also.
Perfectly balanced.
The tang is nearly the full width of the blade.
[Kiera] This bit that's about to come...
...Orlando will be annoyed at me saying this,
but it took about 15 takes for him to be able to do that.
Though he looks very swish when he can do it.
- Looking all smug, please. - [Jack] Wasn't it part of the gag reel?
[Kiera] It was a very large part of the gag reel, actually.
[Jack] Isn't that just the truth?
[Kiera]Here we are. Now, what you can't see
is that Gore made me do this about a million times.
I nearly fainted at the end, the eyes were rolling back in the head.
That's where I nearly fell down the stairs.
[Jack] You see? Over-corseted.
[Kiera] Over-corseted, but I'm being very flirty now, aren't I?
Why does my eyebrow do that?
- [Jack] You need to control that. - [Kiera] I do.
[Jack] The boy. Now you're going to... we're now going to witness a ceremony.
It features a man. We're going to leave the boy behind.
[Kiera] I was angry at him there.
Did you see that scowl?
[Jack] He was a cheeky, working-class scamp.
[Kiera] He was.
- He called me Elizabeth. Pout, there. - [Jack] Where was that house?
It looks like Beverly Hills, they threw dirt on somebody's drive.
[Jerry] You always look for great actors. That's the key to everything.
I wanted Johnny, and pursued him. Went to France, met with him.
Had dinner with him and his lawyer, then went back a second time
to try to convince him to do this picture. But the only way
you convince an actor to do a movie is by the material.
Since Elliot and Rossio gave us a fabulous script,
that convinced him more than anything.
They wrote a character he wanted to play, something he could make his own.
That's key to an actor, creating characters unique to them.
And that's what Johnny did. So, the anchor of the cast is Johnny.
As far as his performance, the characterization he created,
which is based on Keith Richards, and he claims, Pepe LePew,
and also a bit of Lee Marvin from Cat Ballou.
I think that when you hire Johnny, you want him to create something unique.
When you have a director as talented as Gore,
you have to let him create the characters
as vividly and interesting as possible.
Johnny gave us a performance that had modulations in it.
It could be toned down or amped up. We do that in the editing room,
decide what the best parts of that performance,
and we make sure there's consistency through it.
Initially, we had issues with Johnny. He had a few too many gold teeth.
We talked to him about it, and he put a ton of gold teeth in his mouth.
I was concerned the audience would focus on those gold teeth
rather than his performance, so we removed some.
He thought about it and said, maybe those guys were right.
[Jack] This was actually the very first thing that I shot on this film,
it was intimidating, as you will see from the number of people
that are standing around for me to have to do this.
Whilst on one level, it was quite nice to be welcomed to the film...
- [Kiera] I'm looking bored. - [Jack] Cause I'm about to appear.
[Kiera] I know.
[Jack] Here I come. I have to stop there.
[Kiera] Look at you in your gray wig.
[Jack] How could one man wear so much brocade
and not be classed as a Mardi Gras float, that's what I'd like to know.
[Kiera] You are a fine specimen of a man.
- [Jack] She's getting hot. - [Kiera] Yes.
[Jack] I'm proud of this, took me weeks to learn how to do it.
I'm in the back of your shot. Look at that.
That took weeks to learn how to do.
It was a frightening day, walking through those people
and flinging swords around.
This dock is off limits to civilians.
I'm sorry, I didn't know.
If I see one, I shall inform you immediately.
[Jerry] Usually we start with a screenplay, there was a screenplay,
so we had to shape it to be a successful movie.
And then you have to convince a studio to make the movie.
Once you convince them, you have to find a director
you feel will take that ship and steer it on a course,
embellish it and make it better than you imagined it could be.
That's why we chose Gore Verbinski. He's a talented young director,
I'd tried to work with him before he did Mouse Hunt.
The fact that he could do Mouse Hunt,
which is fun and has a lot of witty humor in it,
then do The Ring and scare you, those were the two elements
we wanted in Pirates, to scare you and make you laugh.
You always want to entertain an audience,
and make a picture that's unique, different and fresh.
We had the opportunity to do that.
The only thing we had to be careful of is the fact that the audience
would perceive it as being based on Pirates Of The Caribbean,
the amusement park ride, rather than a movie that stands on its own two feet,
with a good story, great characters and themes.
We had to avoid that, and one way we did that was by hiring Johnny Depp.
That tells the audience that it's much more mature.
Look at his body of work, he doesn't do big Hollywood movies.
He does edgy and entertaining films.
So, that was the key for me to get at least the perception,
getting away from just, "We made a movie about a theme park ride."
I thought that was an important element in making the picture unique.
The other element was Elliot and Rossio, who rewrote the script,
and changed it cursed pirates who turn into skeletons in the moonlight.
And returning a treasure rather than steal one.
I thought that was very fresh. Those elements, to me,
made it very entertaining.
At least for me to open the paper on a Friday night
and make a choice to see that movie over other movies.
Pick up a crew to rape, pillage, and pilfer my weasely black guts out.
I said, no lies!
I think he's telling the truth.
If he were telling the truth,
he wouldn't have told us.
Unless he knew you wouldn't believe the truth, even if he told you.
[Jack] Commodore and Elizabeth, with their one comic scene together.
[Kiera] We make a handsome couple.
[Jack] An example of English repression, in all its glories.
Sit back, relax, and enjoy some very repressed work.
[Kiera] But look at my cleavage. It is horrific, wearing a corset.
I don't think anybody should feel they must wear a corset.
- Feel sorry for me. - [Jack] I have one word for you.
Layers.
Have a look at the layers I've got on.
[Kiera] Please, my skirt is about a foot wide.
- [Jack] A foot? - [Kiera] Three foot wide.
[Jack] They arranged for this little thing for Keira to stand and lean on.
[Kiera] My leaning board.
[Jack] It's for ladies with ridiculous dresses.
- I can't breathe! - Yes, I...
I'm a bit nervous myself.
- [Kiera] Stunt double. - [Jack] She's gone.
[Kiera] And hit the water in the Caribbean.
I fell off the thing in L.A. and landed in the Caribbean.
[Jack] He's upset. Look, he's a bally hero.
- [Kiera] Taking your jacket off. - [Jack] Lovely medal.
[Kiera] It must be love, babe.
[Jack] It is. That's why the commodore's lot in life is not a happy one.
[Kiera] Johnny comes to rescue me.
[Jack] Could've had me in the white wig, but no.
[Kiera] No, I choose Johnny.
- [Jack] That's not Johnny Depp. - [Kiera] Go on. That's not me, either.
[Kiera] It's called to the pirates. That's amazing, isn't it?
[Jack] I didn't notice that the first time I saw this.
- [Kiera] What did you think it was? - [Jack] I thought the film slipped.
- That's very cool. - [Kiera] Wind starts blowing.
Skeletons start blowing, as they do.
- I've hit the bottom of the sea. - [Jack] Clever.
[Kiera] Gone down like a lead balloon. That was an awful day.
- [Jack] Where was that tank? - [Kiera] L.A.
And that's not me, that's in the Caribbean.
Johnny and a different girl. That's me in L.A.
We come up and it'll be the Caribbean.
- I don't know where that was. - [Jack] Nice fish work.
[Kiera] That's in L.A.
That's the Caribbean with CGI in the background.
[Jack] It's hard to sprint in that costume.
[Kiera] No, wait a minute. This is me. This is a wig moment.
When he put me down in one of the takes, I actually took his wig off.
It came with me.
[Jack] That's a bit unpleasant.
[Kiera] I have to point out, I don't know if you can put this in the DVD.
But there are no breast implants here.
The breasts are smaller than any other time in the movie.
She's awake.
Look, he's arrived. My fiancé.
- And me dad, all in one. - [Jack] The angry man.
[Kiera] Isn't that nice? I get cuddled by my dad.
- [Jack] A little bit of a corset gag. - [Kiera] Corset gag going on.
Don't speak.
I spent quite a long time wet, actually.
We kept getting buckets of cold water chucked all over us.
It was more disturbing when it was hot, cause I wasn't expecting it.
Pirate.
You're so masculine.
[Jack] Considering what I'm really like. Bit of a shock.
[Kiera] Hang him.
You're not very nice, are you?
He's just saved the woman you love, and you're trying to kill him.
[Jack] I'm the scourge of piracy in the eastern Caribbean.
I've got a man with a pirate brand on his arm. I won't let him go.
[Kiera] No, it's true.
[Jack] I'm a man of the law.
No additional shots nor powder.
A compass that doesn't point north.
And I half expected it to be made from wood.
You are, without doubt, the worst pirate I've heard of!
But you have heard of me.
Commodore, I really must protest!
Carefully, Lieutenant.
Pirate or not, this man saved my life!
One good deed is not enough to redeem a lifetime of wickedness!
But enough to condemn him.
Indeed.
Finally.
[Kiera] That was unexpected.
- He's not very nice, is he? - [Jack] He's a pirate.
- [Kiera] You look worried. - [Jack] Of course.
I'm doing a lot of eyebrow acting at this point.
[Kiera] And I'm angry acting. Angry breathing acting.
[Jack] Did you have to redo any breathing in ADR?
I redid some of mine, I can't remember what the reason was.
[Kiera] I had to do a lot of breathing in ADR.
[Jack] If there was an Academy Award for screaming...
[Kiera] I have to say... because this scene took ages.
I couldn't get his hat on, and I couldn't get his thing round.
He looks like he's having a good time. Careful.
[Jack] "Easy on the goods, darling."
- Please. - [Kiera] He is so good looking.
Close to Johnny. And again.
They're all looking worried, I'm looking very worried.
[Jack] This is a very good stunt.
[Kiera] You caught me. The only time you get to catch me.
Or cuddle me or touch me.
[Jack] This has to be one of the best stunts in the movie.
[Kiera] But... knocked his head.
This stunt is amazing. We all thought he was gonna die.
That's Johnny. That's not Johnny.
That's me, looking in the wrong direction.
[Jack] It's amazing that none of my guys hit him.
- If we think about it... - [Kiera] That's the movies.
He goes running away. That's a clever move.
He's very good, isn't he?
- Running away. - [Jack] That's a hell of a stunt.
[Kiera] There was actually a scene right in there that's been cut out.
After this one, when I come up and be horrible to you.
My character would've been too horrible if they kept it.
- [Jack] You're not very nice. - [Kiera] I said shut up, go away.
[Jack] And told your father to start giving you fashion advice.
[Kiera] It would have been quite funny.
[Jack] Some things hit the editing room floor.
[yells]
[brays]
[Jerry] Psychologically, when they put on their costumes,
they change into somebody from that period and become that character.
I heard a story about DeNiro on Cape Fear.
He couldn't figure out who his character was.
Then he found this wild shirt, and that defined his character for him.
So, it takes little, simple signposts that help you do that.
Johnny said he was in his sauna
when he had the epiphany of playing Keith Richards.
One of the Rolling Stones. So, it comes to us in strange ways.
But fortunately, when you're creative, it all comes out.
You're the one they're hunting. The pirate.
Each director is different, you support the one you hire.
Hopefully you're making the same movie.
Some directors like to have chaos on the set.
Some like it real quiet and very little energy on the set.
It's really up to the director to decide the rhythm and the pace
and the atmosphere of the set. Standing on a movie set
is like watching paint dry, very painful and slow.
But that's just the process, and you get used to it.
Gore doesn't sit in a director's chair. He's moving, working with the actors,
talking to the cinematographer and the costumers and the prop people
and the production people, to make sure he's moving very fast to finish his day.
He likes a lot of set ups, and he's very particular
about the performances that he wants and demands.
Yet, he's somebody who moves the crew in such a way that they like him a lot.
Same with the actors. The majority who've worked with Gore...
...I don't know any who don't want to work with him.
I think if you go out and hire people who are at the top of the game
and want to make the same movie you do, you're gonna succeed.
It's about hiring people, communicating your ideas,
and convincing people your ideas are the way the movie should be created.
The energy that you exude to people around you,
either amps them up or slows them down.
You have to have a very positive energy on the set.
I used to watch a ton of pirate movies on television when I was a kid.
I loved Errol Flynn. Treasure Island, Captain Blood.
There were so many interesting pirate movies,
and the swashbuckling aspect of it, I made sure we got that
into this picture, the excitement of the swordfight,
the swinging from the yardarms and the ships, and it's all fun stuff.
The actors had a lot of work to do prior to the movie starting,
because Johnny, Orlando and Geoffrey had to take swordfighting lessons.
So, they spent months working with a master out of England
who helped them and tried to have them understand what was needed,
for these particular fights.
And then instructed them in doing the actual swordfighting.
The most important thing he taught them,
was you always have to have the sense of character
in what you do and how you swordfight.
Never forget your character, and what they would do.
This is a man who used to work with Errol Flynn. He goes way back.
I think he's 80-something years old.
He's a master, we brought him in to work with our actors.
You never want your actors to put themselves in harm's way.
You don't want anybody to get hurt.
A lot of actors think they can do things they shouldn't and get hurt.
We have stunt men step in when things get too dangerous.
We need them to finish the movie and we like them. We don't want them hurt.
You cheated.
I'm a pirate.
- Move away. - No.
- Please move. - No!
I cannot just step aside and let you escape.
This shot is not meant for you.
[man] There he is! Over here!
Excellent work, Mr. Brown.
You've assisted in the capture of a dangerous fugitive.
Just doing my civic duty, sir.
I trust you will always remember that this is the day
Captain Jack Sparrow almost escaped.
Take him away.
- Come here, boy! - Smell it?
- Come here, boy! - Who wants a nice, juicy bone?
- Hey! - Come here, boy!
- You can do that forever.
The dog is never going to move.
Well, excuse us if we haven't resigned ourselves to the gallows just yet!
Come on!
[Kiera] This is a lovely lady called Paula Newman.
Look at that cleavage. I'm sorry, but she is lovely.
They said when we shot this scene they might not use it,
and we were both desperate for them to. Luckily they have, so I'm very happy.
Thank you, whoever makes that decision.
But Paula's lovely, and she was my only girl for ages.
She was on it for about two weeks, and we really got on.
[Jack] Come to think of it, what was it like being in a film with 250,000 men?
Was it lovely, or was it a bit much?
[Keira] It was lovely. Apart from you, obviously.
Which was very difficult. But everybody else, it was lovely.
But I did enjoy being with Paula, we had a couple of girlie chats,
and that was nice. There she goes.
Off she goes. I don't know what I'm thinking there.
Time to take the medallion out again.
What's going on? Perplexed look.
- [Jack] You do it so well. - [Keira] I do it a lot in this film.
- [Jack] He's hammering his anvil. - [Keira] Lovely Orlando.
[Jack] Symbolically whacking his anvil.
[Kiera] He's so hot, darling.
- [Jack] The Black Pearl has arrived. - [Keira] What is going on?
It must be a ghost ship.
If you can't tell by the music. It's you two.
[Jack] When Jonathan and I shot this scene,
Gore wanted to shoot an extra shot that we'll feature in part in a moment.
He wanted us to do some reaction shots for after this.
After I go there, they left it on Jonathan Pryce,
whose reaction to what was going on was to look to the left of the lens
and say, "Exciting." They, unsurprisingly, didn't use that.
[Keira] You do make a lovely couple.
[Jack] We do and they hadn't realized
what sort of body shape we'd have to adopt,
- having rugby tackled him to the floor. - [Keira] Which I'm sure you enjoyed.
[Jack] There was an element of courtly man love, going down.
- [Keira] You do it so well. - [Jack] Always.
[Keira] Come on, isn't this in the ride? They do this in the ride.
Yes, and I think they do lots of explosions.
This took ages to film. This is three weeks' work, all this bit.
Some of it in L.A., some of it in the Caribbean. You choose.
I don't know where, specifically. That's all L.A.
- [Jack] Is it? - [Keira] I'm pretty sure.
That's L.A. Anything with water is the Caribbean.
[Jack] If it's dry, it's California.
- [Keira] All our pirates. - [Jack] Here they come.
- [Jack] A smelly bunch. - [Keira] Yes.
[Jack] Isn't that man one of the...
[Keira] It's Mackenzie and Lee, with his eyeball.
That was all CGI. He obviously has two eyes instead of one.
[Jack] I thought he was the only one-eyed actor in Britain
- ...who'd take the job. - [Keira] Maybe.
[Jack] Apparently so. Antique hand grenades.
[Keira] Blackbeard's come along. Orlando's gonna go and save the day.
I've gone on the ride many, many times. Jack's never been on the ride, have you?
[Jack] I was reading books about naval procedure,
to spend time fanning about on a ride.
This is my chance for a Robert Duvall moment,
a la Apocalypse Now, and I singularly failed to do it.
Cause I blinked when an explosion goes off behind my head.
This is my, "I love the smell of napalm in the morning" moment.
Here we go.
- I blinked. See, I blew it. - [Keira] You blinked. Just like that.
You looked serious... Sorry, you're acting.
[Jack] Remind me when I crack a smile.
[Keira] All right. This is all L.A. We're running up, there are pirates.
[Jack] They're running up to what looks like the Beverly Hilton.
[Keira] Then we're in the studio, and we're running down.
It was difficult. I was wearing heels, I kept nearly falling down the stairs.
Scream again, my first scream in the movie.
There are many more to come.
I didn't work out for this scene at all.
I thought the stunt girl would do it,
Gore had the great idea I should. Thanks, Gore.
[Jack] You wanted the stunt girl to run up stairs?
[Keira] Certainly, I'm extremely lazy.
- Excuse me. - [Jack] Come on.
[Keira] Pirates at the door, no.
She runs into the room, and the pirates have arrived.
This wasn't me.
I didn't get to swing that, I was really bad at it.
But we did spend ages trying to do this.
All the ashes that are about to fall out weren't actually there,
you'll be surprised to hear.
CGI. She runs away again.
- [Jack] Amazing. - [Keira] Yes.
I'm about to run down the stairs.
Somebody who you think will be Mackenzie Crook jumps down.
He was a stunt guy who was in Cirque du Soleil,
which I'm very impressed with. He did all that, which was great.
All of this was quite scary.
Most of the time we were doing reactions, nothing happened.
That wasn't me. But all the rest of the time,
they did explode this cannon ball,
which I have to say I was quite frightened at.
My heroic moment goes all wrong.
I nearly speared myself with that. It nearly went through me.
[Jack] That's a very good gag.
[Keira] Where has she gone?
We shot this at the beginning of the movie.
This is in the first two weeks that we started filming.
After this, the L.A. poppet was used for the remaining what,
- six months of the entire shoot? - [Jack] Pretty much.
[Keira] You can't see that the crew are all right beside me.
There's about 50 people in this cupboard. It's very big, obviously.
The line I'm about to say here, the parlay line,
cheers to Ted and Terry, the writers, for writing this,
because I must have fluffed it about a million times.
It's a very difficult line. "Hello, poppet."
That one. This one coming up.
Parlay. I invoke the right of parlay.
No, couldn't get that out.
Come on, how do you learn that? That's a hard one, isn't it?
It's not just me being dyslexic. It is a hard line.
[Jack] This is also a fantastic early example of pirate dental plans.
As you can see, in this period in history, weren't that well-funded.
[Keira] Luckily, the heroine of the movie has perfect teeth.
It's Orlando being all butch again.
What's gonna happen? "Bye."
[Jack] In films with lots of extras and running around, the difference is
getting used to the fact that there's an awful lot going on around you.
And you have to be aware of that, as well as what you're doing yourself.
And try not to sweat too much in big wigs.
That's never good.
[Keira] Working on a Bruckheimer film,
the only word I can think of to describe it is "big."
Really, really big.
It's amazing, when you start work in the morning,
and it's a normal day if they're exploding boats,
or there are huge scenes with many, many extras,
as you can see in a lot of this movie.
As far as acting goes, I don't think there's a difference.
You get on with the people, the director, do what you do.
It is amazing, when you get to work on such amazing sets
and so many extras, so many people around you.
- It's kind of cool, though, isn't it? - [Jack] Yeah.
Come on, doggy!
It's just you and me now.
It's you and old Jack. Come on.
Come on. That's a boy!
Good boy. Come get your bone!
That's a good boy. A bit closer!
That's it! That's it, doggy!
Come on, you filthy, slimy, mangy character!
Good boy... no, no, no!
I didn't mean it! I didn't...
This ain't the armory!
Well, well!
Look what we have here, Twigg.
Captain Jack Sparrow!
Last time I saw you,
you were all alone
on a godforsaken island,
shrinking into the distance.
His fortune hasn't improved much.
Worry about your own fortunes, gentlemen.
The deepest circle of Hell is reserved for betrayers
and mutineers.
So there is a curse!
That's interesting.
You know nothing of Hell.
That's very interesting.
[Keira] Johnny behind bars.
And the moon and something must be about to happen.
[Jack] Time for pirate central.
[Keira] Have I been taken by the pirates? I must have been.
Look, this was all in the Caribbean very late one night.
My hair's a lot blonder than it should be, and I think I've got a tan.
What's going on? This all took hours, and it's about 4:30 in the morning.
[Jack] On the subject of tans...
- I should point out that the... - [Keira] This is in L.A.
[Jack] Those of us that played English characters, myself, you, Jonathan...
We were told by the production that we weren't allowed to get tans.
Which is a bit odd, as we were playing English people
who lived in the Caribbean.
Some of us took the no tanning rule seriously.
[Keira] Others didn't.
[Jack] You know who I'm talking about.
Looking at this scene, there's a little honey glow from your left cheek there.
[Keira] It's lovely Isaac. And no, I haven't got a tan here,
because this is all in L.A., so it's fine. But lovely Isaac,
- who's playing Bo'sun, gorgeous. - [Jack] Who slapped you.
[Keira] Who slapped me. He didn't really, so it's fine.
That monkey, I want to stuff the monkey.
- [Jack] Is that Marcel from Friends? - [Keirs] I don't think so. Same kind.
- [Jack] It is the same. - [Keira] Here's the story.
We had to keep this monkey looking forward in this direction.
They had to fire a water pistol in the same direction as the monkey,
so it would look at it.
Unfortunately, they kept hitting Geoffrey in the face.
Which was kind of interesting.
It took hours and hours, because of the monkey.
It was amazing, working with Geoffrey.
A monkey on his shoulder that's clambering around under his hat,
I couldn't have kept... what's the word I'm looking for?
I couldn't have kept the concentration that Geoffrey did.
He was absolutely incredible. We had to do his line by line,
I didn't say anything on any of these close-ups.
He just kept doing it until the monkey would look straight ahead.
Because very often it wouldn't.
[Jack] Geoffrey had a theory,
if he was in a scene with Keira and the monkey,
and the three of them were contained in a single shot,
that people look at screens left to right.
If he didn't get himself on the left side of the screen,
no one would be interested looking at him with a monkey and Keira to look at.
[Keira] I'm pouting next to him.
[Jack] He forced himself to the left side of the screen.
[Keira] He did it a lot.
[Jack] You'll notice he's on the left. There's the monkey, there's Keira.
- [Keira] The monkey first, obviously. - [Jack] That's technique.
[Keira] That's classically trained acting for you.
Why did I give him that? I'm thinking that was a bad idea.
[Jack] You handed over the Jill Fix-it Badge.
[Keira] Off goes the monkey.
This was in a studio called the Dome in L.A., which was kind of amazing.
I took about two weeks to work.
There's a lot of smoke in this scene. It was absolutely awful stuff.
You came up black afterwards. And had to have many showers to get it off.
The thing that took the most time was getting the smoke
at the right kind of density, which is interesting.
- [Jack] A lot of waiting for smoke. - [Keira] Waiting for smoke.
[Jack] one of those things, in the first scenes of the film...
[Keira] I'm being scared again.
[Jack] You've been invaded by a pirate.
- [Jack] What happens now? - [Keira] Orlando's just waking up.
And realized he hasn't saved his girlfriend.
- [Keira] Cheers for that. - [Jack] He's about to be treated...
- [Keira] Badly, by you. - [Jack] ...badly.
This is the only scene I chose to not wear the hat, I think it was a mistake.
[Keira] You look dashing, actually.
[Jack] I look a little bit like an ice cream sundae.
[Keira] Where were you guys when I was being taken away by pirates?
[Jack] Fighting on the battlements.
[Keira] To be precise.
Dear Giles. Angus.
What were you doing?
[Jack] He's about to be a bit...
[Keira] He's about to be a bit heroic, isn't he?
It's about time. He didn't save me beforehand, did he?
Look at that. That was violent.
- And you're not impressed at all. - [Jack] No.
[Keira] No, so go away.
- [Keira] Not very nice, are you? - [Jack] I'm nice about you, look.
You see? He's got love in his heart.
[Keira] You don't say that, you say "careful."
- [door opens] - [footsteps]
You! Sparrow!
Aye?
You are familiar with that ship, the Black Pearl?
- I've heard of it. - Where does it make berth?
Where does it make berth?
Have you not heard the stories?
Captain Barbossa,
and his crew of miscreants,
sail from the dreaded Isle de Muerte.
It's an island that cannot be found, except
by those who already know where it is.
The ship's real enough,
therefore its anchorage must be a real place. Where is it?
Why ask me?
Because you're a pirate.
And you want to turn pirate yourself. Is that it?
Never!
They took Miss Swann.
So it is that you found a girl!
I see!
If you intend to brave all, hasten to her rescue,
and so, win fair lady's heart...
...you'll have to do it alone, mate.
I see no profit in it for me.
I can get you out of here.
How's that? The key's run off!
I helped build these cells.
These are half-pin barrel hinges.
With the right leverage, and the proper application of strength,
the door will lift free.
What's your name?
Will Turner.
That would be short for William, I imagine.
Good, strong name.
No doubt named for your father?
Yes.
Well, Mr. Turner...
I've changed me mind.
If you spring me from this cell, I swear, on pain ofdeath,
I shall take you to the Black Pearl,
and your bonny lass.
Do we have an accord?
- Agreed. - Agreed!
Get me out!
- Hurry! Someone will have heard that. - Not without my effects.
We're going to steal the ship?
That ship?
Commandeer.
We're going to "commandeer" that ship.
Nautical term.
One question about your business, boy,
or there's no use going.
This girl...
...how far are you willing to go to save her?
I'd die for her.
Oh, good.
No worries then.
This is either madness or brilliance.
It's remarkable how often those two traits coincide.
Everyone stay calm! We're taking over the ship.
Aye! Avast!
This ship cannot be crewed by two men. You'll never make it out of the bay.
Son...
I'm Captain Jack Sparrow.
Savvy?
Commodore!
They're taking the ship!
Sparrow and Turner! They're taking the Dauntless!
Rash, Turner.
Too rash.
He is, without doubt, the worst pirate I have ever seen.
Here they come.
Bring her around! Bring her around!
Search every cabin, every hold, down to the bilges.
Sailors, back to the Interceptor! Now!
Thank you, Commodore, for getting us ready to make way.
We'd have had a hard time of it by ourselves.
Set topsails, clear up this mess.
With the wind a quarter astern, we won't catch them!
I don't need to catch them. Get them in range of the long nines.
- Come about! Run out the guns! - Bring out the guns!
We are to fire on our own ship, sir?
I'd rather see her at the bottom of the ocean than in the hands of a pirate.
Commodore!
He's disabled the rudder chain, sir.
Abandon ship!
That's got to be the best pirate I've ever seen.
So it would seem.
When I was a lad, living in England,
my mother raised me by herself.
After she died, I came out here,
looking for my father.
Is that so?
My father,
Bill Turner?
At the jail, it was only after you learned my name you agreed to help.
That's what I wanted, I didn't press the matter.
I'm not a simpleton, Jack.
You knew my father.
I knew him.
Probably one of the few who knew him as William Turner.
Everyone else called him "Bootstrap", or "Bootstrap Bill".
Bootstrap?
Good man. Good pirate.
I swear, you look just like him.
It's not true.
He was a merchant sailor.
A respectable man who obeyed the law.
He was a bloody pirate, a scallywag.
My father was not a pirate!
Put it away, son.
- It's not worth getting beat again. - You didn't beat me.
You ignored the rules of engagement. In a fair fight, I'd kill you.
That's not much incentive for me to fight fair, is it?
Now as long as you're just hanging there, pay attention.
The only rules that really matter are these...
What a man can do, and what a man can't do.
For instance,
you can accept that your father was a pirate and a good man,
or you can't.
Pirate is in your blood, you'll have to square with that someday.
Now, me, I could let you drown,
but I can't bring this ship into Tortuga all by me onesies. Savvy?
So.
Can you sail under the command of a pirate?
Or can you not?
Tortuga?
Tortuga.
[Jerry] The homages to the ride in the movie
are a combination of what the writers added to the screenplay,
and what Gore thought was inherent to the story.
It's important, you can't throw in reference to the ride.
They're islands unto themselves. They have no bearing in telling the story.
So, when we found an instance that we could show you a piece of the ride,
and it worked for the characters, we'd do it.
That's exactly how it ended up.
Not sure I deserved that.
Giselle!
Who was she?
[Jack] This is a sequence I'd like to be in.
[Kiera] Getting slapped by girls? Does that happen to you?
[Jack] Endlessly. Kevin McNally, using his natural pillow.
[Kiera] Yes, the pigs.
He was rolling around in real mud, real pigs.
It was shot at about 3:00 in the morning,
so I imagine he probably wasn't a happy chappie when he did this.
[Jack] Then again, Kevin has been seen in this sort of position
- frequently in his life... - [Kiera] You mean Mr. Badger?
[Jack] I mean Badger McNally. Man in the body of a badger.
[Kiera] Poor, poor Kevin.
But after they shot this scene,
they put him in mud all night, they splashed him with water,
and he got to go home for Christmas.
Weren't the producers nice to him?
Cause after he did that, they thought, we can't say no.
And then they stuck him in a scene in a pub.
- [Kiera] Obviously. - [Jack] Which cheered him up.
Now... what's the nature of this venture of you'rn?
I'm going after the Black Pearl.
I know where it's going to be, and I'm gonna take it.
Jack,
it's a fool's errand!
Well, you know better than me the tales of the Black Pearl!
That's why I know what Barbossa is up to.
All I need is a crew.
What I hear tell of Captain Barbossa,
he's not a man to suffer fools, nor strike a bargain with one!
I'd say good thing I'm not a fool.
Prove me wrong!
What makes you think Barbossa will give up his ship to you?
Let's just say it's a matter of leverage, eh?
The kid?
That is the child of Bootstrap Bill Turner.
His only child. Savvy?
Is he now?
Leverage, says you.
I think I feel a change in the wind, says I.
I'll find us a crew.
Bound to be some sailors on this rock, crazy as you.
One can only hope.
- Take what you can! - Give nothin' back!
[Kiera] What's Elizabeth doing on the Black Pearl? We're about to see.
There we go. She's in the captain's quarters.
- [Jack] It's a miracle it can sail. - [Kiera] How does it sail?
Just wondering.
- It's magic. Ghostly. - [Jack] It's ghost magic.
[Kiera] I don't know why Jack Sparrow wants it so much.
[Jack] Needs to take it to a sailmaker.
[Kiera] Suddenly we're in a studio in L.A. again,
and my hair's very curly and rather perfect.
Tell the captain I'm disinclined to acquiese to his request.
- [Keira] Whatever that means. - [Jack] You remembered that one.
[Kiera] We've got the lovely dental work and eye work and hair work.
A bit smelly and disgusting.
Take the dress, love, not naked. It's not a good idea.
[Jack] Naked with the crew. This is a deleted scene, isn't it?
A DVD extra.
[Kiera] This scene coming up right now was the first scene that I shot.
In fact, it was the first scene of the movie shot at all.
So, this was in L.A. I was rather nervous.
A bit of a scowl there. It took about two days to film.
I was so sick
of eating this stuff.
It was all greasy and cold and disgusting,
I felt like I wanted to puke afterwards. I made the mistake
of saying that I didn't mind eating anything. Next time I know, just fruit.
Otherwise, you have to eat a lot of very cold meat,
and sit in front of disgusting seafood, like eels, which you'll see in a minute.
I was meant to spit the food out after I did each take,
but I thought that was disgusting, and it was my first day.
I wanted to look cool, so I just swallowed it. I know now just to spit.
This whole set was built on hydraulics,
so it all moved.
You can kind of see it moving, but not really.
It was moving the entire time.
A lot of people got seasick, though we weren't at sea.
[both laughing]
There was very few lights used, apart from the candles,
there were millions of them everywhere.
I frightened of catching my hair alight, because there was quite a lot of it.
There's Geoffrey. I was daunted by working with Geoffrey Rush,
cause he's a bit good.
[Jack] This is the longest speech in the film,
and he had to film it on the first day of shooting.
[Kiera] All I had to do was look and pout. A bit of eye work there.
- [Jack] That's pout C, isn't it? - [Kiera] Pout D, maybe.
I'm going to write the handbook, don't worry.
I hardly believe in ghost stories any more, Captain Barbossa.
[Jerry] One of the difficult scenes, for a producer and the writers
and the director is to have the audience understand what this curse is about
in a simple way, and what the treasure is about.
That scene was rewritten many, many times so it would be very clear,
what the curse was, how do you relieve the curse,
What happens when they have the curse? We kept working on it,
we rehearsed, remodulated, Geoffrey made it his own.
Geoffrey is an actor that wants the writers around.
He wants to know pronunciation on certain syllables.
What he should hit, what he should modulate.
He's a very detailed actor
and wants to know the context behind everything.
[Kiera] Geoffrey's on the left of the screen,
- and me on the right. - [Jack] He's no fool.
[Kiera] He'd worked it out on the first day.
I was glad I didn't say this speech. We had to do it quite a lot.
I would have fluffed my lines. He did it all.
He's very professional. And the monkey goes again.
The monkey wasn't in the whole scene.
We did try it, but he wouldn't stay still.
He would have seen that. It's not exactly subtle.
[Jack] When I first saw it,
I thought you wanted it for the cheese plate after he'd gone.
[Kiera] This took ages, because it was the monkey again.
Don't work with a monkey, there's no point.
Although the animal trainers were amazing.
When he did it, he did it well.
But it takes a long time to get the monkey to act.
[Jack] The monkey and the badger.
[Kiera] The monkey and the badger, all in one film.
Apple?
[Kiera] I love the dress, my Barbossa dress, which is quite cool.
This is my first bit of action. Round we go, round we go.
This was done quite late at night. I'm about to stab Geoffrey.
God, I was so nervous, but he had a big, metal plate in there.
I only got it about twice. I nearly killed him,
possibly about six times. And I was so nervous.
- [Jack] Big CGI. - [Kiera] This is a CGI moment.
None of these people were here.
This took about two weeks to shoot this scene.
It was me, bouncing around, pretending to be beaten up by invisible pirates.
They were all there for the first day,
all the actors, to show the CGI guys where they were.
- Then they went. - [Jack] This is good.
[Kiera] This isn't me.
That's not me. I think you can tell, actually.
Can you tell? That is me, done on the blue screen.
Where I was standing around, waving my arms and screaming a lot.
All this sequence took about two weeks,
and much of the time, there was no actor here when we did this.
They put them all in afterwards.
So, it's amazing to see the final work.
The skeletons are absolutely crazy.
It's nice to see what I was meant to be reacting to,
because I didn't know at the time. Gore just told me to scream a lot.
I asked him when we were shooting,
"How does one react to skeletal pirates?"
He said, "I don't know, guess." So I screamed.
We are not among the living and, so, we cannot die.
But neither are we dead.
For too long I've been parched of thirst and unable to quench it.
Too long I've been starvin' to death,
and haven't died!
I feel nothing.
[Jerry] Moonlight Serenade is something we discussed over and over again.
Gore was passionate about it. It was a longer sequence.
Unfortunately, we couldn't afford to make it as intricate as he wanted.
There was a lot of discussion from the studio. They felt the tone
was wrong for the movie, shouldn't have been in.
Initially, it was a little more whimsical.
We had more whimsical music behind it.
We decided to keep the tone of the movie as real as possible,
and she'd be scared to death by these skeletons.
That's the direction we took it when Hans Zimmer came in,
and his people worked on the score for that particular scene.
Feast your eyes, Captain.
All of them, faithful hands before the mast.
Every man worth his salt,
and crazy to boot.
So this is your able-bodied crew?
You, sailor!
Cotton, sir.
Mr. Cotton.
Do you have the courage to follow orders and stay true
- in the face of danger and death? - Mr. Cotton!
Answer, man!
He's a mute, sir. Poor devil had his tongue cut out.
So he trained the parrot to talk for him. No one's yet figured how.
Mr. Cotton's parrot.
Same question.
Wind in your sails? Wind in your sails?
Mostly, we figure that means "yes."
Of course it does.
Satisfied?
Well, you've proved they're mad!
And what's the benefit for us?
Anamaria!
I suppose you didn't deserve that one, either.
No, that one I deserved.
You stole my boat!
Actually...
Borrowed. Borrowed, without permission,
but with every intention of bringing it back to you.
But you didn't!
You'll get another one!
I will!
A better one.
A better one!
- That one! - What one?
That one?
Aye. That one.
- What say you? - Aye!
Aye!
Anchors away!
No, no! It's frightful bad luck to bring a woman aboard, sir.
It'll be far worse not to have her.
How can we sail to an island that nobody can find,
with a compass that doesn't work?
The compass doesn't point north,
but we're not trying to find north, are we?
We should drop canvas, sir.
She can hold a bit longer.
What's in your head that's put you in such a fine mood, Captain?
We're catching up.
Time to go, poppet.
♪ Dead men tell no tales
Puts a chill in the bones, how many honest sailors
have been claimed by this passage.
How is it that Jack came by that compass?
Not a lot's known about Jack 'til he showed up in Tortuga,
a mind to go after the treasure of Isle de Muerte.
That was before I met him, when he was captain of the Black Pearl.
What?
He failed to mention that!
He plays things closer to the vest now.
And a hard-learned lesson it was!
Three days out on the venture, the first mate says,
"Everything's an equal share. That means the location
of the treasure, too," so Jack gives up the bearings.
That night, there was a mutiny.
They marooned Jack on an island and left him to die.
But not before he'd gone mad with the heat.
So that's the reason for all the...
Reason's got nothing to do with it.
Now Will, when a pirate's marooned,
he's given a pistol with a single shot. One shot...
Well, that won't do much good hunting, nor to be rescued.
But after three weeks of a starving belly and thirst,
that pistol starts to look real friendly.
But Jack, he escaped the island, and still has that single shot.
He won't use it, though, save on one man.
His mutinous first mate.
- Barbossa. - Aye.
- How did Jack get off the island? - Well, I'll tell ye.
He waded out into the shallows,
and he waited there three days and three nights,
'til all manner of sea creatures came acclimated to his presence.
And on the fourth morning,
he roped a couple of sea turtles, lashed them together and made a raft.
- He roped a couple of sea turtles. - Aye.
Sea turtles!
What did he use for rope?
Human hair.
From my back.
Let go the anchor!
Lower the anchor line!
Young Mr. Turner and I are to go ashore.
Captain!
What if the worst should happen?
Keep to the code.
[Kiera] The bit that's about to come up is all the treasure cave
that was actually built on a sound stage in Disney.
It was really, really slippery, and I took a lot of this gold.
It's in my house. I shouldn't admit that.
They're going to do me for stealing. It was all plastic.
So, not terribly impressive.
I thought I might get a tiny bit of gold,
but there was absolutely none.
What you're about to see, where I'm climbing up the side,
They might not use it.
I climb up the side of the treasure in the middle,
which was difficult, because my hands were tied,
and I was wearing a dress and heels.
So, it wasn't the nicest experience.
There weren't any steps or anything, so we had to figure out a way
to get up a mound of treasure.
Which isn't as easy as it sounds.
There were always safety divers in the water, in this cave.
I didn't see them save anybody.
But they were there, anyway, just to make us feel good.
The first assistant director got angry,
because everyone flicked the treasure around,
and used to play skim the stones, or skim the coins in the water.
That was always annoying, I guess.
This is all in a studio.
[Jack] Johnny's got quite a jaunty rowing style.
[Kiera] Yes, he knows how to row. He does look good, doesn't he?
- So does Orlando. - [Jack] They both look good.
[Kiera] They do both look rather impressive. Very pirate-like.
Look at all that treasure, it's making him look gold.
That was really slippery, that bit. I fell in a couple of times.
Luckily, the pirates helped me out of the boat.
Which you didn't actually see. I did exit from the boat.
You're about to see a wide shot of me, with Geoffrey talking a lot, as usual.
He's got a lot of words in this. I just scream.
- [Kiera] Geoffrey has speeches. - [Jack] He never stops.
It's me doing my... [gasps repeatedly] ... acting again.
Which I seemed to do for weeks and weeks on end.
Yes, scared.
[Jack] I do seem to remember everyone being pretty exhausted
after you'd shot this sequence.
[Kiera] This took a long time to shoot,
and Geoffrey lost his voice doing it, cause he had to shout so much.
The last day, he was just miming it, he didn't say anything.
I'd have liked to help, unfortunately,
I had to look scared in the background.
[Jack] With that chest, they're using props from Raiders Of The Lost Ark.
[Kiera] It's so easy.
[Jack] It's nice to see things recycled that way.
Harrison Ford's gonna jump up between you any moment.
[Kiera giggles] You can see it.
Monkey action.
Come on, save me. Save me, they're about to kill me.
Yes, look, he's sneaking around. Johnny, stop it.
Have I ever given you reason not to trust me?
Do us a favor.
I know it's difficult for you, but, please, stay here.
[Kiera] The tomb is a bit like Sleeping Beauty, a Disney movie.
[Jack] Yes, yes. Not Raiders Of The Lost Ark.
Made by those losers at the other place.
- [Kiera] It's a sleeping Disney... - [Jack] Sleeping Disney.
[Kiera] Sleeping Beauty.
Amazing extras.
- All the guys playing pirates. - [Jack] You mean supporting artists?
[Kiera] Supporting artists playing the pirates.
My guys. They were amazing. We had such a great time in the Caribbean.
They all came again. It was brilliant, we had such a great time with them.
I really think that they made the mood of this scene,
because they were shouting the entire time, which was great.
It definitely made me very scared.
What's gonna go on? No, not the hand.
They used this chemical to make that little cut where you see it.
They used one clear solution on my hand,
and another one on the blade of the knife.
- [Jack] And when you rub it together? - [Kiera] They react together.
It goes red, so it looks like blood. That was terribly clever.
That was after that scene, we did not shoot that on that day.
Must have been second unit, cause I wasn't there.
- It's impressive. - [Jack] It's lovely.
[Kiera] Geoffrey. Is he feeling different?
- Is he feeling the same? - [Jack] Smell the flower acting.
As advertised in Friends.
- [Kiera] Not a Disney production. - [Jack laughs] I was going to say.
[Kiera] There's Trevor, looking pretty cool.
Lee and Mackenzie. Are they different, are they the same?
No, same. Sorry.
No, it didn't work.
Shoot Lee. That's how you tell.
- [Jack] Always good. - [Kiera] Always a good idea.
Lee's actually a rather attractive fellow.
He doesn't have the beard. He doesn't have the hair.
It's amazing how awful you can make people look.
I mean it in a fabulous way, cause he looks amazing as a pirate.
[Jack] He's, in fact, six foot four. Blonde surfer type.
It's amazing what they do with CGI these days.
[Kiera] This is about to be my fantastic stunt double, Sonia, who's my hero.
There's Sonia. She got an awful cut on that day.
Stood up as everybody's going, "My God, are you OK?" and giggled.
I guess that's why she's a stunt woman.
If I'd fallen and cut myself as badly as she did,
I would have been crying.
It's amazing how quickly I wake up.
[Jack] That's because Will Turner's come to save you.
[Kiera] That love energy has just taken me over.
[Jack] It's the love energy.
[Kiera] That was the bit there. My dress weighed 50 pounds wet.
It wasn't meant to be wet, and they wrote that in.
I actually pulled Orlando back into the water,
because the dress was heavy, he wasn't prepared for it.
I didn't exactly feel very ladylike and graceful that day.
[Jack] More like a drowned haberdashers.
[Kiera] Yes. Looked good wet, though.
- [Kiera] Come on. Cheers, mate. - [Jack] Yeah?
She's disappeared, where has she gone?
Oh my God, Geoffrey, no!
Get after her.
But we've been terribly cunning.
Where are the oars? I wonder whose idea that was.
- It must have been mine. - I think Ted and Terry's.
Ted and Terry's, to be precise. All right then.
There's lovely Isaac again.
And Johnny in the background, looking a bit bewildered.
Yes, him. He's back.
But he isn't. His hat's on squint.
I know, because I spent ages trying to get his hat on straight,
and it's squint again.
[mumbling]
...parsnip... pars-ley...
...Partner, pardoner...
Parley?
That's the one! Parley!
Parley!
Parley?!
Damn to the depths whatever muttonhead thought up parley!
That would be the French.
[Jack] You're being saved for the first time.
[Kiera] I was so wet and so cold, and a bit unhappy.
We weren't that far from shore,
but it's really difficult.
Working on this boat, the Interceptor, was not a happy experience.
Everybody got seasick, cause it rocked so much.
There were over 60 crew members on this ship.
And everybody had to huddle into one corner or go underboard.
- [Jack] Below decks. - [Kiera] Thank you. Not underboard.
Had to go below decks whenever we were filming, so it wasn't happy.
Either you were puking, or you'd taken the seasickness pill,
which meant you're falling asleep, because it made you drowsy.
Yeah, it was interesting.
[Jack] Below decks on that boat was not a pleasant place to be.
[Kiera] Very smelly.
We were all told when on the Interceptor
not to use the toilets.
Sometimes we were 20 miles out.
Everyone's standing because there's no space to sit,
either asleep because of the seasickness pills, or puking
because you hadn't taken them, not allowed to go to the toilet.
There was nowhere to relieve yourself.
It was difficult, to say the least.
- [Jack] No business like show business. - [Kiera] Very glamorous.
I'm about to have one of my four,
only four scenes with Orlando Bloom.
It's the biggest scene we have together.
This was shot in L.A. It took quite a long time.
It was the last scene that I shot with Orlando.
We were meant to shoot it in the Caribbean, but there was never time.
So, we had to come back to L.A. after the Caribbean and shoot it.
- It's a really nice scene, though. - It's lovely.
It was great to work with Orlando, cause I'd met him a couple of times in London.
But we'd never worked together before.
But it was weird, cause although it was a six month shoot,
whenever he was on, I wasn't. And vice versa,
cause he spends most of the film trying to save me.
So, we only have four scenes, and nearly kiss, and then don't.
[Jack] You can feel the crowd... aching for closure.
[Kiera] What am I trying to do there?
The bit now, I take off the medallion.
It was so hard to get this medallion off.
It was stuck with cello tape to the back of my neck.
So I can rip it off, just like that.
Every single time I ripped it off, the tape would get stuck to my hair,
I'd pull out clumps of hair.
He sent it to me.
Why did you take it?
This is nearly the breakup of Elizabeth and Will.
One of the more intimate scenes in the movie.
- One of the only intimate scenes. - [Jack] It really is.
[Kiera] He's lovely, isn't he?
It was my father's blood.
My blood.
[Kiera] This scene we rehearsed a lot,
because we'd just spent a good couple of months in the Caribbean,
doing all the action sequences.
We hadn't played a proper scene in quite a long time.
It took quite a while to snap back into it.
It was great fun, really nice to remember what film we were making,
what we were doing, cause shooting action sequences,
it takes a really, really long time.
And weirdly, for an action sequence, it's amazingly boring.
It's nice to remember at the end of it that you are an actor,
what the story's about, and that there are other people and all that stuff.
It was great to finally get to film that scene.
This is Johnny and Geoffrey's first scene in the movie.
This was shot after mine and Geoffrey's first scene.
Possibly on the fourth day of shooting.
This was the first everybody realized
how Johnny was gonna play Jack Sparrow.
Wicked.
[Jack] It took a lot of people by surprise.
[Kiera] It did, but he's one cool dude.
[Jack] He certainly is.
[Kiera] Martin Samuels for the hair, and Ve Neill for the make-up.
How cool on both of them. Look at that scar over Geoffrey's eye.
It took Geoffrey three hours in make-up to look like that.
And Johnny's wig was more like a hat.
It just plopped on his head, and they tied the bandanna round,
and that was it, on and sorted.
So, none of your hairpins and anything like that.
[Jack] I had a lot of hairpins, a lot of rubber bands
to keep that white confection attached.
You see, Jack, that's the attitude that lost you the Pearl.
People are easier to search when they're dead.
Lock him in the brig.
Hands aloft to loose ta'gallants!
With this wind dead astern, she'll carry every sail we've got.
- What's happening? - The Black Pearl!
She's gaining on us!
This is the fastest ship in the Caribbean!
You can tell them that after they've caught us!
We're shallow on the draft, right?
Aye.
Can we lose them amongst those shoals?
We don't have to outrun 'em long. Just long enough.
Lighten the ship!
Stem to stern!
Anything we can afford to lose, see that it's lost!
Apparently, there's a leak.
Haul on the main brace! Make ready the guns!
And run out the sweeps.
We're gonna need that.
It was a good plan, up 'til now.
Gibbs!
We have to make a stand.
We must fight!
- Load the guns! - With what?
Anything! Everything!
Anything we have left!
Load the guns!
Case shot and langrage!
Nails and crushed glass!
With a will!
The Pearl's gonna luff up on our port quarter!
She'll rake us without presenting a target!
Lower the anchor on the right side.
On the starboard side!
- It has the element of surprise. - You're daft, lady!
You both are!
Daft like Jack!
Lower the starboard anchor!
Do it, you gobs, or it's you we'll load into the cannons!
Aye!
[Jerry] Working on water is a big concern.
We've seen debacles of other films that had problems.
Water is tricky. The weather changes, and nothing stays put.
The ship is always moving, your chase boats are moving,
and always turning on you. It's very time-consuming.
What we try to do is learn what other productions did that went wrong.
We researched how they filmed on water, and what happened to them.
We decided that we should do most of it around the L.A. area,
go to the Caribbean only for six or seven weeks,
and only take them out to the high seas for five or six days.
What you do as a film producer is break everything down in little sections.
They don't look daunting when it's just the sea battle.
You hire the individuals who worked on Pearl Harbor and did the battles.
I knew I was in good hands, as far as what was gonna happen on the water.
Then you have a director that's been around the block.
He understands how to get the most out of an action sequence.
He storyboarded it. You had storyboards for the sequence.
All the cast and crew saw the storyboards,
knew what was expected of them.
You rehearse it, you work it out, and it slowly comes to life.
The most exciting thing is looking at the dailies,
knowing you put something together that's happening.
But the biggest thrill is watching it with an audience,
cause there's so many enjoyable moments where an audience can respond to it.
When they applaud and laugh, it makes you feel great.
And that's why I do this.
We could use a few more ideas, lass!
It's your turn!
We need us a devil's dowry!
We'll give them her!
She's not what they're after.
The medallion!
[Kiera] This was shot in the Caribbean.
This was some of the most amazing stuff ever to shoot,
because there were these two huge boats,
the Interceptor we're on, that was in L.A. in a studio.
But everything above deck is all in the Caribbean on a real boat.
And we'd have to go round and round and round in circles
because the whole battle is basically set where we sail past the Black Pearl.
So, it made everybody rather dizzy, shooting it.
But it was pretty amazing. It's incredible, when you watch it.
Anything on the Black Pearl or below deck was really done in the studio.
The bit where the sail falls, nobody was around. Nobody was there.
So, they put all these people in afterwards, which is quite amazing.
When they actually filmed it, nobody knew what would happen to the sail.
There was a moment where everybody thought it would explode
or ruin the ship, or everything was going to be ruined.
So, we shot the entire battle
before they did the shot with the sail falling.
Nobody knew what would happen. It looks amazing and nothing happened.
It fell, and everything went to plan.
This bit, monkeys and all, was incredible.
This was all the stunt guys, and me.
When we shot it, everything went to plan,
they swung across and landed, I pretended to shoot people.
It was all good. It was amazing, watching it filmed.
The stunt guys are really amazing.
All this bit with Orlando is one of the last scenes he shot in L.A.
It was a pickup afterwards.
When we shot this, a lot of it hadn't really been written.
We were making it up as we went along.
I don't know if I should say that, but we were.
Thanks very much.
[Kiera] I was actually taught two seconds before we did this,
"A," how to fight and hit people with the gun,
cause I wasn't meant to, and "B," how to load a gun,
cause I've never shot one. And I certainly never loaded one before.
That was an interesting experience for me.
How many times can I say "certainly" in one sentence?
- [Jack] You could get another couple. - [Keira] I'll try.
But it was an amazing scene to film. It took a very long time.
This was meant to be the stunt double,
it wasn't, and I got taught about two seconds before,
that's a very cool stuntman,
I got taught it about two seconds before I was meant to shoot it.
This bit, my nail is way too long. That's not CGI nail work.
[Jack] You could play some mean guitar with that.
[Keira] I didn't mean CGI nail work.
- I meant something very different. - [Jack] Your own stunt nails.
[Keira] That's not continuity nail work They should be shorter.
- [Jack] Have you had a manicure... - [Keira] In the Caribbean?
That's called a Beverly Hills manicure.
Will!
Why, thank you, Jack.
You're welcome.
Not you. We named the monkey Jack.
Gents! Our hope is restored!
Yeah!
Any of you so much as thinks the word parley,
I'll have your guts for garters!
Will!
Stop it! Stop it!
Welcome back, miss.
You took advantage of our hospitality last time.
It holds fair now that you return the favor!
Barbossa!
Will!
She goes free!
What's in your head, boy?
She goes free.
You've only got one shot, and we can't die.
Don't do anything stupid!
You can't...
I can.
Like that.
[Kiera] Those shots with me close up were pickup shots after the event.
When they realize they'd forgotten me on the actual day, how dare they.
I love all that eunuch stuff.
Me looking worried in the background.
Geoffrey again on the left hand side of the screen.
He might have been on the right.
Pick up shot, with all my boys.
Rather smelly and rather dirty.
- [Jack] I'll bet they were. - [Kiera] Lovely.
It's me not looking very worried there.
Was that continuity hair? Sometimes it's over my face, sometimes I don't.
[Jack] There's a lot of hair in this movie.
[Kiera] A lot of scars, as well. And pirating action.
Agreed.
That's very far away from where we actually filmed it.
And I think that ship was CGI. This is me walking the plank.
This took two days to film, and that is like a diving board.
That's 15 foot up, that's me. OK, so there aren't waves,
but the boat was rocking a lot, and I was rather frightened.
At some point, they built scaffolding to make it slightly better,
but it did freak me out a lot, and made me rather dizzy,
gave me vertigo, weird, cause I don't have vertigo.
But it did freak me out utterly.
I'm about to do...
Maybe she has a chance. Maybe not.
The island in the background was put in afterwards,
because actually there was no island. So, that's CGI.
Taking the dress off was really difficult on that,
cause I was balancing myself.
I'm out there the entire time, balancing myself on a diving board,
trying to take a dress off, which wasn't the easiest thing.
This is after Gore said that I don't have to jump off the plank.
I thought I'm standing here for two days, I'm going to jump.
- There I go. That was me, off and down. - [Jack] Was that you?
[Kiera] That was me.
That was some days later, when I actually surfaced.
That wasn't the actual day.
[Jack] Little known fact, the ability to hold your breath
for two and a half days.
- [Keira] Yes, I surface, and I'm fine. - [Jack] She is Aqua Girl.
[Kiera] What was meant to happen was a shark would swim by, and I swim off.
But they don't show it. We did it with a CGI shark.
There was a bit of green shark fin that looked like a Christmas tree
floating in the water.
But they cut the scene, so never mind.
[Jack] Isn't that where he tells you about swimming underneath the sharks?
There was a big bit about sharks. And it's all been cut.
Which is fine, it works without it.
Jose and Finneus there, all around.
Give us a pair of pistols.
It'll be one pistol, as before,
and you can be the gentleman and shoot the lady,
and starve to death yourself!
[Kiera] And that's not Johnny.
And there was one stunt man falling off the plank,
and then another stunt man, who was there for the swimming bit.
Then Johnny in a tank in L.A.
This is all in Petit Tabac, in the Caribbean.
It was our last couple of days being very wet.
The ship wasn't actually there, that's a CGI ship.
Spent many days being really wet.
The conch shells on this island was really difficult.
We cut our feet a lot, because they were everywhere under the sand,
you couldn't see them, there are outtakes
where we're swearing a lot, because we'd stubbed our toes on conch shells.
This is my favorite bit. I loved shooting this, it was so much fun.
We had such a laugh. He's just crazy.
Walking in very strange ways, and me desperately trying to get my lines out,
I couldn't remember at all,
East India Company and all that kind of stuff just wouldn't go in my head.
Look at that tan, and that blonde hair.
[Jack] You gave up the ghost and the non-tanning rule.
[Kiera] This was towards the end of the shoot. It was meant to be the end.
We were meant to finish but we hadn't, so we went back to L.A. after this.
Johnny always surprises me with his performances.
I don't remember whether we improvised at all.
I think we might have done. Gore gave us a pretty free rein.
He just said see where it goes, and go for it.
We rehearsed a lot for this.
Which was great, because some of the time, we didn't have time to rehearse.
We just had fun, we went with it.
The shot that's coming up, there was more talking.
That shot was done in L.A., that's blue screen,
or me in front of a green screen with wind blowing.
That wasn't actually in the Caribbean.
[Jack] This is my favorite sequence in the film.
- [Kiera] This bit's in L.A. - [Jack] Is it?
Any wide shots, that's done in the Caribbean.
But whenever it's close, it was either done in a studio in L.A.,
or it was done on one of the beaches in Malibu.
That was done on the beach in Malibu.
The night that we started shooting this in the Caribbean,
we didn't get to finish the scene.
On my way back home, we stopped off at Johnny's boat
for something to drink, maybe a bit of dinner,
to take our costumes off.
I went back from Johnny's boat
with my mom and the third assistant director,
and we were in a boat accident.
The boat went down. It went onto a reef.
We drove into a reef, and it started sinking.
We had to jump off the boat and wade through the water.
You can see it's dark there,
so it must have been 10:00 at night.
And we had to save three things,
cause we'd just moved islands.
I had all my luggage with me in the boat.
The guy said, "Save three things."
I took a hat that was a friend of mine's, my passport to get home,
and my sparkly purse, too pretty for the bottom of the ocean.
We stood out on a reef for about 45 minutes
before two Frenchmen in a rubber dinghy came and saved us.
It was a surreal experience. The French are good
to come save me in the middle of the Caribbean.
We didn't shoot any more night scenes in the Caribbean.
Everybody realized it was rather frightening,
because there were reefs that nobody really knew where they were.
All this stuff is in the studio. That's in the studio.
And some of the other stuff's on the beach.
All this is great, this is really great.
I can't tell you what a giggle we had shooting it.
I love Johnny's performance.
He was a bit like Ozzy Osbourne in this bit.
- That's not me. - [Jack] No.
- [Kiera] Look, Ozzy Osbourne. - [Jack] It is, isn't it?
[Kiera] It's Ozzy.
- [Jack] Exercising. - [Kiera] Yes, exactly.
Yeah, and I get to shout at him again.
[Jack] I like the notion, in that previous scene,
that you've managed to do three quarters of a bottle of rum and keep it together,
but you won't let go with the last quarter. I'm very impressed.
[Keira] I don't condone underage drinking.
But why is the rum gone?
Just wait, Captain Sparrow. give it one hour, maybe two.
[Kiera] I didn't know what he was doing behind my head,
I'm really annoyed with him. I'll give him a slap.
He's upstaging me. Again.
And off he goes. Now the next scene,
I am sitting in the background of this shot
because I was told that I was going to be seen by a Mr. Gore Verbinski.
Had I done something wrong? Because he's made me sit out there.
Can you see me in that shot there? I am sitting there.
- You're in plenty of shots. - He made me sit there for an hour,
and you can't see me. Anyway, this is back in L.A. This is in L.A. harbor.
I have curly hair, and I'm very glad.
- And wet, yes. - [Jack] And no tan.
- [Kiera] You're back. - [Jack] Back in the story.
You're about to come and upset me again.
No, you're about to give me a shred of hope, it's true.
[Kiera] Excuse me, I said yes to marrying you.
[Jack] True. You're making conditions.
- [Kiera] No, I'm not. - [Jack] Women. You can't trust us.
Can't live with them, can't live with them.
- [Kiera] He's a bitter gentleman. - [Jack] Things get bitter.
[Kiera] I do like your gold brocade.
[Jack] That's good brocade work there.
[Kiera] This was my first scene with Johnny.
I think this was my first scene with Johnny.
- "As a wedding gift." - [Jack] You took me by surprise.
[Kiera] What's he gonna say?
The lovely governor.
- [Jack] Are you? - [Kiera] I am, yes.
- Johnny upstaging me again. Shut up. - [Jack] I'm afraid he is.
[Kiera] Irons.
Yes, get him out of my shot, because otherwise, he'll pull focus.
[Jack] It's hard work.
This is high grade, superciliousness.
- [Kiera] You could at least smile. - [Jack] I can't, I'm a man...
[Kiera] I said I'll marry you, you're not even smiling.
[Jack] I'm a man of action. I'm a man of danger.
I'm in a dangerous and action laden situation.
[Kiera] We had a nice scene after that that's been cut.
It made me look too terrible, and it made you look too nice.
[Jack] There you go, you see? How these things can happen.
[Kiera] There is a nice scene that hopefully will be on this DVD.
[Jack] It's a brutal business, show business.
Never sat well with Bootstrap, what we did to Jack Sparrow,
the mutiny and all.
He said it wasn't right with the code.
That's why he sent off a piece of the treasure to you.
He said we deserved to be cursed...
...and remain cursed.
Stupid blighter!
Good man.
But, as you can imagine,
that didn't sit too well with the captain.
That didn't sit too well with the captain at all!
- Tell him what Barbossa did. - I'm telling the story!
So... what the captain did...
...strapped a cannon to Bootstrap's bootstraps.
Bootstrap's bootstraps!
Last we saw of ol' Bill Turner...
...he was sinking into the crushin' black oblivion of Davy Jones' locker!
It was only after that we learned we needed his blood
to lift the curse.
That's what you'd call ironic.
Bring him!
I don't care for the situation.
Any attempt to storm the caves could turn into an ambush.
Not if you're the one doing the ambushing.
I go in and convince Barbossa to send his men out in their little boats.
You and your men return to the Dauntless
and blast the bejesus out of them with your little cannons.
What do you have to lose?
Nothing I'd lament being rid of.
Now, to be quite honest with you,
there's a slight risk to those aboard the Dauntless,
which includes the future Mrs. Commodore.
- For your safety! - Don't care what the Commodore orders!
I have to tell him!
The pirates! They're cursed! They can't be killed!
Don't worry, miss. He's already informed.
A little mermaid flopped up on deck and told him the whole story!
This is Jack Sparrow's doing!
No reason to fret.
Just a prick of the finger, few drops of blood...
No mistakes this time.
He's only half Turner.
We spill it all!
Guess there is reason to fret.
Beg your pardon, mate. Beg your pardon.
- Begun by blood... - Excuse me.
by blood un...
Jack!
It's not possible!
Not probable.
Where's Elizabeth?
She's safe, just like I promised.
She's all set to marry Norrington, just like she promised,
you get to die for her, like you promised.
So we're all men of our word, really.
Except for Elizabeth, who is, in fact, a woman.
Shut up! You're next!
You don't want to be doing that, mate.
No, I really think I do.
Your funeral.
And why don't I want to be doing it?
Oh, because...
Because the HMS Dauntless,
the pride of the Royal Navy,
is floating just offshore,
waiting for you.
What we doing here?
The pirates come out, unprepared and unawares.
We catch 'em in a crossfire,
and send 'em down to see Old Hob.
I know why we're here. I meant... why aren't we doing what it was...
What Mr. Sparrow said we should do? With the cannons and all?
Because it was Mr. Sparrow who said it.
You think he wasn't telling the truth?
Just hear me out, mate.
Order your men to row out to the Dauntless, they do what they do best...
Robert's your uncle, Fanny's your aunt. There you are with two ships.
The makings of your very own fleet.
You'll take the grandest as your flagship, and who's to argue?
But what of the Pearl?
Name me captain.
I'll sail under your colors, give you ten percent of me plunder,
and you introduce yourself as...
...Commodore Barbossa.
Savvy?
I suppose, in exchange, you'll be
- wanting me not to kill the whelp. - No. Not at all!
By all means, kill the whelp!
Just not yet.
Wait to lift the curse
until the opportune moment.
For instance...
...after you've killed Norrington's men.
Every...
...last...
...one.
You've been planning this ever since you learned my name!
Yeah.
I want 50 percent of your plunder.
- 15! - 40!
25!
And I'll buy you the hat.
A really big one.
Commodore.
We have an accord.
All hands to the boats!
Apologies.
You give the orders.
Gents...
...take a walk!
Not to the boats?
[Jerry] What's unique about "Pirates" is that we got cursed pirates,
who turn into skeletons.
That's exciting because ILM's computer power is so strong,
they create visual effects, they couldn't do six months ago.
Our skeletons are different than those in The Mummy
or other films prior to it.
Because they have pieces of skin and clothing on them.
They're more real and have characteristics
and some visual signatures of the characters they're portraying.
Hold fire!
This is just like what the Greeks done at Troy!
'Cept they was in a horse,
instead of dresses.
Wooden horse.
A moment, please.
Elizabeth?
I just want you to know, I...
I believe you made a very good decision today.
Couldn't be more proud of you!
But, you know,
even a good decision, if made for the wrong reasons,
can be a wrong decision.
Lieutenant.
Elizabeth?
Are you there?
Elizabeth, are you even listening to me?
What have you done?
Stop that! I already feel like a fool!
Look nice, though.
Do I look nice now?!
I must admit, Jack.
I thought I had you figured.
But it turns out you're a hard man to predict.
Me, I'm dishonest.
A dishonest man you can always trust to be dishonest.
Honestly...
...it's the honest ones you want to watch out for.
'Cause you can never predict
when they're going to do something incredibly...
...stupid.
You're off the edge of the map, mate.
Here, there be monsters!
Right.
[Jerry] We wanted an English girl
because most American girls we met had contemporary faces.
You want that old-fashioned look that Keira embodies.
She's a wonderful actress and that is the key.
The fact that she's beautiful doesn't hurt either.
You want somebody appealing, yet you believe is that character on screen.
She made us believe she's Elizabeth, the governor's daughter.
I like to create strong female characters
who have something to say and a strong will.
I love Keira's spunk.
She takes charge when the men are floundering.
Keira had to be in excellent physical shape.
When you work on a movie, it's a long haul.
You don't get a lot of sleep, so you have to make sure
you take care of yourself.
She worked hard at that, rehearsed and spent
a lot of time together talking about their parts,
embellishing their parts, and making sure they understand their characters.
Make for the ship! Move!
You can't beat me, Jack.
That's interesting!
Couldn't resist, mate.
Sorry!
So what now, Jack Sparrow?
Are we to be two immortals, locked in an epic battle
until Judgment Day, when the trumpets sound?
Or you could surrender.
[Keira] This is an amazing sequence. This is my favorite.
[Jack] It's the best fight.
[Keira] I haven't seen a film where they go in and out
of CGI skeleton bits before.
Now, the actors do it first.
All these pirates do it first.
Then there's nothing there, so you shoot it once with actors, and once without.
Here's me, trying to pull the boat.
No, you can't do it, it doesn't work.
We did this scene many times. I don't know why, but it just didn't work.
We had the writers on the set,
so it took a couple of days to do it,
and work through it.
I don't know why, but I guess I thought I couldn't do it.
Gore very nicely got me through it.
Look, they're all an unhelpful bunch, aren't they,
with Badger in the middle of them.
There's me, quoting Geoffrey Rush back to the pirates.
This is me with a tan in the Caribbean, and the CGI ship behind me.
Actually rowing.
I did learn how to row doing this film, which was fun.
Very badly, I have to add.
I wasn't happy when we were on night shoots
and it was 3:00 a.m. and I had to row in the ocean.
Is it supposed to be doing that?
They're stealing our ship!
Bloody pirates!
- [Jack] This battle is good. - [Keira] Yes.
It is a good battle, isn't it?
- [Jack] I'm going to be heroic. - [Keira] Go on.
[Jack] Saying orders I don't understand.
We shot this at 5:00 a.m., as usual.
They didn't tell me I'd have a gun before I started to fight.
[Keira] You look good with a gun.
[Jack] I did do this,
but what no one ever told me when we rehearsed it
was that I'd have to do a version of the take with nobody.
We did it one time,
they said, "OK, now do the CGI version."
I didn't know what they meant.
It's like learning to tango for weeks with a partner,
and then someone asking you to do it without them. It's confusing.
Cause you're never sure where to go next.
When the blades of your swords touch each other,
gives you an idea what happens next.
When that's taken away, it's difficult to know what to do next.
I became concerned cause the camera operator, when we came
to shoot the close-ups, suddenly changed into full-body armor,
which I didn't know whether to take as a compliment or indeed an insult.
I haven't had the chance to ask which one it was, but I will.
- They're still at it? - [Keira] Still.
We just missed my big corset line.
[Jack] Did I talk over that?
[Keira] You talked over my corset line. It's fine. I'll get over it.
Don't worry. Bashing people with a wooden...
- [Keira] ...real gold. - [Jack] A church implementary.
[Keira] I'm not sure what it is. We had to reshoot this fight
because originally you do it once with the actors and once without.
But because of this here, where these guys are skewered,
we also had to do the fight scene without the golden pole.
I am very bad at miming.
Orlando's not much better.
We had a very hard time, so it didn't look very good,
and we had to come back and reshoot it without the mime, which is lucky.
This bit coming up was my last scene in the entire movie after six months.
It was about three days before my 18th birthday.
They gave me a big cake.
That's my last shot of the movie. That was it.
Who's dead? Don't know. It's all a mystery.
But that was it, and we finished at 3:00 in the morning.
I flew back to L.A. two days later.
I got back the day before my 18th birthday.
They gave me a big cake, which was nice of them.
It had lots of cream.
Not many people stayed because it was 3:00 a.m.,
and we were tired and wanted to get home.
It was very nice. Thank you for my cake.
It had "Happy birthday, Keira" on it, which was nice of them, so cheers.
[Jack] They bought it for someone else and thought, "Give it to her instead."
[Keira] In case I'd forgotten about my birthday.
They might have thought it was my birthday that day.
I didn't want to tell them it wasn't,
I didn't want to seem ungrateful, so I pretended it was my birthday.
Actually, it was four days later, sorry.
Thanks, anyway.
[Jack] This is the only opportunity I get to look remotely butch in this film,
which was a blessed relief.
[Keira] If my character had seen you like that... I'd have married you.
[Jack] Just in case he came back at me.
[Keira] Nice one.
[Jack] It was nice to have at least one chance to be pirate-y.
Even if I was on the other side.
Look at all that blood.
- [Keira] Back at the moon. - [Jack] Meaningful.
[Keira] It's all over for the pirates.
Why do they surrender at this point?
Because, as you'd made clear, you're going to hang them anyway.
They might as well get it over and done with.
[Jack] True. It's going to be a festival of hanging.
Back at Port Royale.
We look forward to it, it'll take a month. Those two will be first.
[Keira] Because they're so cute.
Nice one. Well done.
[Jack] That was actually, they decided to put that line in on the night.
There used to be an awful lot of huzzah-ing.
- [Keira] There was a lot more. - [Jack] Slightly too much.
[Keira] I'm glad they've cut out a lot of it.
[Jack] I'm not sure that the British Navy
traditionally shouted "huzzah" repeatedly on winning a battle.
But I could be wrong about that.
Let's call it artistic license.
[Keira] Exactly. Now this is the moment where I'm looking pretty sad.
I'm pretty sad at this point.
Please kiss me. No, actually, I don't think I will.
[Jack] He'd be bristly, though.
[Keira] Johnny ruins it again, upstaging in the background, as usual.
[Jack] He's got food in his mustache. You wouldn't kiss him at this point.
- [Keira] I wouldn't. - [Jack] I see bagel.
- [Keira] Cream cheese. - [Jack] Something.
[Keira] Maybe I had, he's looking at it.
[Jack] I don't blame him.
If you were waiting for the opportune moment...
...that was it.
Now if you'd be so kind, I'd be much obliged
if you'd drop me off at my ship.
I'm sorry, Jack.
They done what's right by them.
Can't expect more than that.
- [Keira] I'm back in LA. - [Jack] Back in LA.
- [Keira] The beginning of the shoot. - [Jack] This was early on.
This sequence starting here, coming to the end of the movie,
took weeks to shoot.
- [Keira] We had to reshoot it. - [Jack] It took such a long time.
[Keira] Can I just say, thank you to Jeanne, my body make-up artist.
For making this fantastic cleavage that we're about to see in this dress.
- It's better than any other. - [Jack] The miracle of spray paint.
Look at that.
The shading, the definition, it's fantastic.
[Jack] The nervousness.
[Keira] And your stern face... I really don't like you.
I'm not doing much about it, am I?
I should be running and desperately trying and save him, but I'm not.
[Jack] That guy reading the speech was a supporting artist
who'd never said a line in his life.
He was a bit terrified...
Nice. A bit of yogurt.
...he'd never really said a line on film in his life.
He was a bit nervous, but he did it in the end.
- [Keira] He was very good. - [Jack] But nervous.
[Keira] He had to say it in front of all these people.
There were a lot of extras that day.
[Jack] This is where Orlando ruins my day.
[Keira] What's he gonna say? I'm still not happy with him at all.
Softening.
He loves me. I'm sorry to all the teenage girls out there.
Looking like a buccaneer, but he loves me.
My dad, not happy, next to me.
Unfortunately, that's the end of you.
She's seen a parrot.
That must mean it'll be okay.
He's gonna swashbuckle and save the day.
She drops again. In an act of desperation...
[Jack] When in doubt, faint.
[Keira] That took ages, that faint. I fainted how many times?
What's going on? Down, sword, and it was that easy.
That easy.
[Jack] The physics of that moment are questionable.
[Keira] Jonathan Pryce, perplexed at what his daughter's doing.
Jack's going to save the day. I love this scene.
[Jack] I'm going to save the day with a lot of help.
[Keira] From many troops.
There we go, all the red jackets in the background.
[Jack] When in doubt, ask for assistance.
[Keira] Especially when there are only two of them. You're a big man.
[Jack] I've got an even bigger man on top of me.
[Keira] What's Johnny gonna do? Nice one.
[Jack] This is one of my favorite stunts.
[Keira] This is clever.
Down. Nice one.
Yes, and again.
Go on, yes.
- [Jack] And then pull it tight. - [Keira] Yes, and gone.
Not dead, obviously, just knocked out.
Nice. I don't think that was there.
- [Jack] It wasn't. - [Keira] I'm sure it wasn't.
[Jack] I've managed to outnumber them now.
[Keira] How long were we shooting this?
- [Jack] Weeks. - [Keira] Weeks and weeks.
- [Jack] Johnny upstaging everyone. - [Keira] That's all he ever does.
I should have knocked him out.
- [Jack] On a vaguely serious note... - [Keira] Where's my hat gone?
[Jack] It's fallen off in the melee.
[Keira] Running and fainting. It just disappeared.
- [Jack] In the traditional melee. - [Kiera] Just like that.
We had big problems with the weather cause we had to wait for this gray sky.
It never came.
It's the LA...
It's not exactly sunny, is it?
- [Jack] The marine layer, they call it. - [Keira] You're right.
[Jack] You're about to break my heart.
I'm not happy.
[Keira] Johnny upstaging, in the background.
For goodness sake, put them down!
So this is where your heart truly lies, then.
It is.
Well! I'm actually feeling rather good about this.
We've all arrived at a very special place.
Spiritually.
Ecumenically.
Grammatically.
I want you to know that I was rooting for you, mate.
Know that.
Elizabeth.
It would never have worked between us, darling.
I'm sorry.
[Keira] All of us had brown eyes because there was a lot of sun.
We all had contact lenses in, great for Johnny,
he's got dark eyes, they were one color.
I've got light brown eyes, they had to do two-toned contact lenses.
I wore them for one day and felt so dizzy that I couldn't wear them again.
So they paid, at great expense, probably not,
for these amazing contact lenses. I only wore them once,
and then couldn't after that.
That was in LA, that's in the Caribbean.
Amazing, when you think about it.
That's all in the Caribbean.
We're coming to my favorite bit, I'm about to kiss Orlando.
In a minute. Sorry, Jack.
[Jack] My least favorite, I lose the girl.
[Keira] Sorry, Commodore.
I don't understand why I kiss him in front of my dad.
- I can't imagine... - [Jack] He'd condone that behavior.
[Keira] I imagine what I should have done is gone OK, the Commodore,
- He's rich... - [Jack] He's a thinking man.
[Keira] ...successful, gorgeous wig.
I can't understand why I've gone for stunning Orlando.
[Jack] Look at this.
[Keira] With the feather in the hat.
[Jack] How can you go out with a guy with that big feather in his hat?
[Keira] It was rather difficult.
It was constantly hitting me in my face, and tickling me.
I'd breath it in when he turned around. He was attacking me with his feather.
- [Jack] Nice. - [Keira] Yes, very nice.
But he does look good in an Errol Flynn way.
Good in the hat, Orlando. Nice choice.
What about Sparrow, Commodore?
I think we can afford to give him one day's head start.
[Keira] That's nice of you. You're a nice chap.
[Jack] I haven't got a girlfriend, so I'll go pirate-hunting.
- [Keira] Good thinking. - [Jack] There's not much...
[Keira] Wait a minute. I'm going to be gushy.
After all...
...he is a blacksmith.
No.
[Keira] How does one do a kiss scene with Orlando Bloom?
You say he's a pirate.
He grabs you, a bit like this.
- [Jack] I feel a crane shot coming. - [Keira] There you go.
How many times did we do that? About six.
There were teenage girls
all around me that day,
I thought they were going to kill me.
Governor walks off... he should drag me away.
He's a poor blacksmith, don't let her do it.
[Jack] But no.
[Keira] There are teenage girls just off camera, ready to kill me
because I'd kissed Orlando Bloom.
That's an amazing stunt.
It's a great film. We swash, we buckle.
There are a lot of pirates running around.
This is Keira Knightley. Thank you for watching
and listening to us all go on
about this amazing film, Pirates Of The Caribbean.
This is Jack Davenport saying the same thing,
except I'd also like to thank Lucia,
who did my hair, even though it was painful.
Joel, who did my make-up. Mark, who dressed me.
Lady Penelope Rose, for making sure I looked as silly as possible.
I hope you've enjoyed this.
We loved doing it, take care.
See you.
[Jerry] When you make a movie, you try to make the best possible.
What is wonderful about what we can do now is you can,
as an audience, understand why we made the movie, and how we made the movie.
That's really important to us because we give you a lot more.
What DVDs do for you is you get to listen to the filmmakers,
and understand why they did what they did.
We're thrilled that you picked up Pirates of the Caribbean on DVD.
We hope you enjoy what we've put together.
This is Jerry Bruckheimer. Thank you very much for spending time with us
on the making of Pirates of the Caribbean,
and understanding how and why we made it,
and what we did to make it.