- [Gore] Hi, Johnny. - [Depp] Hi, Gore.
- [Gore] How are you today? - [Depp] I'm fine.
- [Depp] How are you? - [Gore] I'm fabulous.
[Gore] Just swell.
[Depp] What's that?
[Gore] Look, in the fog.
[Depp] Here she comes.
[Gore] This shot was an absolute nightmare.
It's actually five shots put together.
The lighting didn't match on any of them.
[Depp] So there's a lot of digital imagery?
Not much, it's one piece. It's pasted together.
Different takes pasted together, re-lit and flopped and flipped.
We shot it really early in the schedule
and it came in two days before the release date.
[Depp] Two days!
Kevin McNally.
[Gore] He's got such a great voice. He should do children's books.
He's got that...
Robert Louis Stevenson...
[Depp] Jack Davenport is a great find.
[Gore] He's become the American Express card.
You don't want to do a movie without him.
He can do anything.
He's always just got it going.
[Depp] Good old Jonathan Pryce.
[Gore] The two of them at dinner!
- [Depp] The comedy stylings. - [Gore] Self-deprecating.
[Gore] Jonathan would freely give Jack advice about his career.
Actually, I find it all fascinating.
Yes. That's what concerns me.
[Gore] He was unbelievable. When he joined the movie, I felt this lift.
We were all wiped out down in the Caribbean.
Jonathan Pryce got off the plane, and everybody went, "Fresh blood."
Ted and Terry did a great job with all of this.
[Depp] The voice through the fog.
[Gore] When I first heard "pirate movie," I was like, yeah,
Then I found out it was based on the ride.
It's a two-hour advertisement for a theme park.
[Depp] When it was first mentioned to me by Dick Cook,
there was that initial hesitation, but I had a really good feeling.
[Gore] It's been a dead genre.
I was nervous because I wasn't sure there was a story.
Is it buried treasure? Kidnapping? What are the five plots?
- [Depp] It's all of it. - [Gore] In reverse.
[Gore] I like that it was about putting this treasure back,
instead of finding it.
And that the mutiny happened before the movie.
There is a whole prequel aspect to the film.
They were good writers, good to have on.
[Depp] This stuff is amazing. Was this in the Caribbean?
[Gore] That was in San Pedro. "Pirates Of San Pedro."
I remember oil tankers driving through the background.
The radio doesn't work, and where are the batteries?
They're on the boat that went to pick up the actors.
You can't communicate, so you're stranded with no working radios.
Trying to scream and use hand signals.
[Depp] I remember moments of absolute chaos.
[Gore] That was pretty much the entire movie, if you recall.
[Depp] There was a lot of chaos.
That's why I was shocked when I saw the trailer for the first time.
When you watch the trailer, you see it's this epic thing.
When we were doing the film, it felt really intimate.
Like it was just a bunch of people.
[Gore] It's amazing. There's 400 people.
They're all great and doing their job, coming in at 3:00 am.
But then there's only ten people that you end up working with.
Trevor the focus puller, and Martin, and you just make the movie.
So the whole scale issue just evaporates.
[Depp] It didn't feel like some giant film to me as we were doing it.
[Gore] It was amazingly fluid, considering the logistical nightmare.
[Depp] Ladies and gentlemen, Miss Keira Knightley.
[Gore] She was a surprise.
- [Depp] She was something, that kid. - [Gore] Unbelievable.
[Gore] She came in and read for the part, and I didn't know who she was.
I hadn't seen "Bend It Like Beckham" or any of these movies.
It was just...! And she can act.
- [Gore] The kid can act. - [Depp] She really can.
[Gore] 17 years old.
She traveled the entire movie with her mom, Char.
- [Gore] She was just great. - [Depp] A great lady.
- Those parents did something right. - [Depp] They're a sweet family.
[Gore] She's got both feet on the ground.
Confidence, you know? Incredible confidence.
I put her against you and Geoffrey Rush and Jonathan Pryce.
It doesn't matter. She just comes to play.
[Depp] She was there.
You could try anything in a scene and she'd ride.
[Gore] Some actors, you roll camera
and you'd swear they're thinking of their laundry
or their agent, or their next deal.
She always has her head in the scene.
She's a really great experience.
[Depp] And young Mr. Bloom.
[Gore] I love this part.
[Depp] That's a very funny bit.
[Gore] There was a longer setup for him which we cut out because of length.
It was important to let people know it's okay to laugh,
especially before Captain Jack's arrival in the scene.
They didn't know whether it was a drama, or what.
What is this?
That little point five before you go to def con one.
It's really important.
We put it back in and everything started to work better.
[Depp] Orlando played it both earnest and funny.
- I think he should do more of that. - [Depp] He's so good at it.
[Gore] I had to keep reminding him, you're not cool yet.
He so wanted to be like you.
It's like, "You're still a dork." He's like, "Right. Dork."
It's so good to see you!
I had a dream about you last night.
About me?
Is it entirely proper for you...
About the day we met. Do you remember?
How could I forget, Miss Swann?
[Gore] On the page, he had the strongest arc. The identity crisis.
Captain Jack just wants a ship.
That's beautiful, in a way. Everybody else has a trajectory.
Jack just has one agenda always.
- [Depp] Freedom. - Exactly. I love characters like that.
Elizabeth.
[Depp] Look at them! They're beautiful, the two of them.
[Gore] I saw the two of them in a restaurant,
and I just knew, that's taken care of.
[Depp] Thar she blows!
Remember that day?
[Gore] I remember the boat sinking, fully capsizing.
I kept saying, "Don't worry, it's safe." That was the whole movie.
"Johnny, it's been tested and it's safe."
Thirty minutes later, things are blowing up.
That's part of the Murphy's Law of this movie. Unbelievable.
Really great arrival.
[Depp] Yeah, well written by the boys, Ted and Terry.
They wrote a classic entrance. A beautiful entrance for a character.
[Gore] It's so great to have them throughout the entire movie.
Usually on these movies, there's like 15 writers.
You can't get through the list of who's been hired to rewrite.
You get this fragmented thing.
To make this movie in under a year from an outline
it was essential to bring them in.
[Depp] Having them there every day was amazing.
There he is.
Sweet kid. A very sweet little kid.
[Gore] Great local casts.
[Depp] The guys we brought from LA, they were just living it.
- [Gore] The hand-picked extras. - They're probably still living it!
[Gore] They actually smelled like pirates.
They gave up bathing after a while, they were so dedicated to the task.
Back in San Pedro again.
[Depp] Giant.
[Gore] If you're going to fail, fail big.
[Depp] Who did the music finally?
[Gore] About 39 people!
Basically, Klaus Badelt did the music.
But there was no time, by the time we knew what we were doing.
Hans Zimmer was really involved.
We'd sit in a room and it would be, "Who's doing that cue?"
"Jimmy, you're going to do that one, right?"
"Frank, you're going to rewrite that one."
There were like 15 composers on the movie.
They were shepherded by Klaus and Hans, who came up with the basic themes.
They pulled the rabbit out at the last minute.
It's really hard to be contemporary with that.
[Depp] Here we go. Murtogg and Mullroy.
[Gore] Those guys... they're just...
- [Gore] Angus Barnett and Giles. - [Depp] And Giles!
[Gore] You've worked with Angus and Mackenzie, right?
[Depp] I worked with Angus Barnett and Mackenzie Crook on "Neverland."
- [Gore] They were amazing. - [Depp] Unbelievable, both of them.
- [Depp] These guys are incredible. - [Gore] Like Laurel and Hardy.
I want to see more of them.
The Black Pearl.
There's no real ship that can match the Interceptor.
The Black Pearl is a real ship.
- No, it's not. - It is. I've seen it!
- You've seen it? - Yes.
- You haven't seen it! - Yes, I have!
You've seen a ship with black sails, that's crewed by the damned...
[Depp] This whole thing was so well written.
Their whole spiel together was unbelievably funny.
[Gore] It's just vaudeville.
- [Depp] Angus's face. - [Gore] Amazing.
All that stuff in the background, the mountain and the ship.
None of that was there.
I think that's the only way we made this on schedule.
- [Gore] Shoot now and forever... - [Depp] Paint 'n' fix.
- One computer guy fixing and painting. - [Depp] The toilets of the Black Pearl.
[Gore] The half-finished boats, and tourists driving into the bay,
going, What's going on over here?"
You just have to keep rolling and fix later.
That's what probably made it feel small.
I think we were always shooting. We were always rolling.
No matter what was going on.
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 it to you.
[Gore] Great faces. Classic faces.
[Depp] What about Penny? The work she did. Look at this work.
[Gore] She's a gift.
[Depp] Penny's on fire. She's amazing.
[Gore] She retired from the business for 15 years to raise her kids.
She came back, and she's got infinite wisdom.
Costume designing aside, she takes care of her kids.
A marriage to a fine woman.
You have become a fine woman, Elizabeth.
I can't breathe!
Yes, I... I'm a bit nervous myself.
And then they made me their chief.
Elizabeth?
[Depp] I remember the fall. It was a barrel.
It was an oil can, an oil drum.
[Gore] It was fun, those days down there.
[Depp] Looking back on it.
[Gore] There's Tony Angelotti's famous swan dive.
He was great.
[Gore] You think of the Caribbean in one way.
[Depp] It's presented to you in one way, and then something else happens.
[Gore] Part of the continuing, "We had it tested, everything's fine."
"Then why is everyone wearing masks except me?"
[Depp] I wore trash bags under my boots.
[Gore] It'll be like one of those John Wayne movies 20 years from now.
[Depp] That's a beautiful shot, there.
[Gore] One of us will be alive.
[Depp] Remember when my wig came off?
One of my wigs just came off.
[Gore] Angus started feeding it to Keira. A dead rodent.
- I never would've thought of that. - You've never been to Singapore.
[Depp] I love these little odd references that Ted and Terry put in.
[Gore] That's really great.
That's the surprise for me. You hedge your bets
because of the whole Bruckheimer brand and audience expectations.
The summer movie, all that. You blow up ships.
You have explosions and skeletons and all that stuff.
The big education for me was that it restored my faith in the audience.
They are responding to the nuance of the movie.
The movie you could make with the lights in your station wagon.
Two hundred more skeleton shots aren't going to mean anything.
The awkward moment is something I think we all identify with.
These scenes are really hard to shoot. Fourteen people, ten eyelines.
- [Gore] Cameras jammed into... - [Depp] A billion angles.
[Depp] Sharon Reynolds-Enriquez is amazing. Script supervisor.
[Gore] One to bring along.
[Depp] What a crew.
We lucked out. An amazing crew, all the way around.
[Gore] That's where I think you live or die. These people.
[Depp] When we were doing the work,
we'd do a take and I'd wait for you to see how you felt about it.
One of the greatest barometers for me was Trevor, the focus puller.
Martin, the operator. Rafi.
The guys who were right in there.
When you'd cut, I'd see what they were doing.
If Trevor was laughing, I knew I was in the arena I needed to be in.
[Gore] Know what's amazing about Trevor?
He used to land airplanes on an aircraft carrier.
In terms of focus-pulling, there's no one I'd rather have judging distance.
[Depp] We're talking as precise as can be.
[Gore] I've never worked with anyone who'd go,
"No!" in the middle of the take.
He'd self-cut. I never experienced that. It's so rare.
He's so proud of his work.
What he'll do is take the knob and completely twist it,
like, you can't use this. He grinds it. "Let's do it again."
[Depp] He's sharp, man. "He's sharp." I made a joke.
[Gore] I use Martin in that same way.
When I'm judging a hundred things, and my mind's just... calculation.
I'll look over to Martin and he'll give me the nod.
He's right there with his eye on the eyepiece and he's catching stuff.
Even though you can stand behind a camera or look at a monitor...
[Depp] He's in there.
[Gore] It's going to be 80 feet tall on a screen some place.
I see something and go, "Is that moment there?"
"The micro-epiphany, is it behind the eyes?"
- [Gore] He was so great. - [Depp] He was unbelievable.
[Depp] One take, running across the bridge.
[Gore] That was your day coming in.
- [Depp] Plastic hands. - [Gore] Four hours in makeup.
[Gore] Sitting, waiting. Put him back in a boat.
The schedule was taken away from us, as I remember.
It was taken away from the ADs by our friends in Production
who, to their own credit, there is a huge fear of a water movie
going five times over schedule.
- That you're not going to make it. - [Depp] Wrestling the elements.
[Gore] It's a legitimate concern. Nothing stays where you put it.
- [Depp] Moving the boat. - [Gore] You set a composition,
and the sails are blowing backward, and you yell, "What?" from a different boat.
I'm yelling, "Two steps left," as cannons are firing.
I love this sequence.
It's like a silent movie.
No animals were injured in the making of this movie.
[Depp] We were very kind to that mule.
[Gore] I think too kind, if I remember.
It got cold there a couple of nights.
Right where I left you.
Not where I left you.
[Gore] Let's talk about the swordfight.
[Depp] Many, many hours.
Many, many hours of swordfighting.
[Gore] From my perspective, you could tell...
There were just different approaches.
Geoffrey Rush was just insane.
- The stunt team was like, "Go away." - [Depp] They were exhausted by him.
[Gore] "You know the routine." He'd say, "We gotta work on it again."
He's a completely unique bird.
[Depp] He had it down to scientific angles.
[Gore] Orlando was like, "I got it, man."
"I did Lord Of The Rings. I can do this stuff."
[Depp] I imagined Captain Jack would be like Ali when he got into the ring.
The other guys would put their hands up in boxing stance.
Captain Jack would be like Ali with the hands down.
- [Gore] Just waiting for the first... - [Depp] Not really wanting to fight.
[Depp] Too tired.
[Gore] It's also, how many Band-Aids on your fingers from this stuff?
[Depp] We took a few whacks, man.
[Gore] That's not fun.
[Depp] The amazing thing was doing the swordfighting training,
working with Mark Ivy, one of the sword experts, and George.
Bob Anderson, who is like 80.
- [Gore] The legend. - [Depp] The guy who taught Errol Flynn.
When Bob came round and picked up the sword,
he was like a teenager with it. It was incredible.
And everybody stops and shuts up.
We were all sweating and he was absolutely fine.
And like a kid.
[Gore] I think he has a great sense of character.
- [Depp] He absolutely did. - It's acting, not just swordfighting.
[Gore] That's why it was important when I talked to those guys
that Orlando had that kind of stick up his ass.
"You've insulted me." That D'Artagnan thing working.
I think Captain Jack will take the shortest route to anything.
- [Depp] Absolutely. - Least amount of energy expended.
[Depp] That's exactly it.
- [Gore] That's pure Johnny. - [Depp] The eunuch line.
[Gore] There's a lot of those in this. They're great.
All that stuff you added is really...
And it's still in the movie.
[Depp] I was really pleased.
[Gore] You have to pervert this genre at every opportune moment.
[Depp] One must be a pirate.
Dangling.
[Gore] It took quite a long time to shoot this.
[Depp] What was this sequence? Like five days or a week?
[Gore] We did four or five and came back and did the stuff on the rafters.
After we came back from the Caribbean, we did this stuff.
Finally, you said to me, "You're just going to use this, right?"
Do I really need to go...? Can I just go...?
[Depp] That was especially true with Geoffrey.
That routine I didn't know as well as I knew this one.
[Gore] If you compare it to a stunt team
that's not learning lines throughout the movie,
they got that routine down really well.
You can pop out into these wide shots and then come in.
Then it's about finishing up a performance and a reaction,
or a great moment, or a bit of dialogue.
That is the most important thing.
Those guys, that's what they do.
[Depp] They were all amazing in saying it has to come from the character.
Jack wouldn't have the perfect stance.
[Gore] The entire movie, Tony would look at you.
It's so funny to see him try to do it.
He couldn't get it but he tried. It was beautiful.
- [Gore] The wobble. - [Depp] He did well, Tony.
You can keep doing that forever.
The dog is never going to move.
[Gore] This scene, the crowd goes nuts.
Then you go to London, and it's a pin-drop.
- They don't get the dog reference. - [Gore] The ride references.
It's so funny to have Brits going, "What are people laughing at?"
Even in the background, there's some little moment from the ride.
In Anaheim they're going crazy, but in Munich...
[Depp] This moment is huge in Anaheim.
Now that's a smart match, miss,
if it's not too bold to say.
It is a smart match.
[Depp] I didn't know because I was so freaked out watching it at the premiere,
but every day when Ve did my makeup,
we had this little syphilitic open wound on my jawline.
I guess you notice it here and there.
[Depp] This is beautiful stuff.
I don't know where or when or how you shot this, but I love it.
[Gore] That's a dusk-for-night plate and a barge,
driving through to create the wake.
- Everything else is fabricated. - [Depp] Wonderful. Really great.
What's that?
Cannon fire!
[Gore] Jonathan Pryce. He just cracks me up.
I'm probably the only person laughing at everything he did.
[Depp] I had trouble, especially shooting the end,
keeping a straight face.
When I breathed at him, his reaction was too good.
[Gore] He's so phenomenal. These guys were great.
We did these castings.
We got all these chairs and brought in the dregs of LA.
Bikers, out-of-work actors, people who wanted to be in movies.
[Depp] Like me! The dregs of LA.
[Gore] And brought them into this basement at Disney.
We switched from real to rubber weapons because they were hurting each other.
We'd say, "You're looking for gold." They'd all scream, knock over chairs.
We'd yell, "Captain's on deck," and they'd stand at attention.
And out of 600, we picked ten guys who stayed with us the entire show.
So you'll see background guys from the Caribbean over in LA.
[Depp] All these guys were unbelievable. As you said, they really lived it.
[Gore] They brought so much. You can't buy that stuff, they have to want it.
Just the whole gang was fantastic.
Vince, Lee Erin Burgh, Mackenzie Crook.
I think it's nice that the first killing in the movie is Orlando.
[Depp] I never noticed that.
That never, ever crossed my mind.
That is interesting.
The goody-two-shoes takes down the first.
I need a full spread, fore and aft.
Mr. Stevens, more cartridges!
Governor!
[Depp] All this stuff is so giant.
Without being involved, again it was like seeing it for the first time.
It's so shocking to me.
The film never felt that large to me.
[Gore] It was just every day.
Get up. Martin would make some coffee.
We were living in a little rental down in the Caribbean.
He'd make some coffee, and we'd go to work, blowing stuff up.
There's quite a few longer dialogue scenes.
The writing's good.
You could feel you could shut down and be telling a story.
I think for a 105-day shoot...
There are 60-day shoots where you're dying to get off the movie.
You're like, "Please end it," the last ten days.
A hundred and five days. We didn't go bad until that scene on the beach.
That was like the 105th day.
It was pretty good spirits all the way up until that.
[Depp] I think so. I had a ball shooting that scene.
[Gore] Yeah, that was good fun.
This was all classic stuff that was the feeling of the ride.
[Depp] A bit of raid and pillage.
[Gore] When they blew that post in half,
I think that was the first one of our experiences with the effects crew.
The cannonball was supposed to go through the post.
She's great here. I love this stuff.
It didn't blow up. It was a dud.
It was like, "Can't we do better than that?"
The joke was, now it's going to be way over the top.
These guys have done 20 movies, the crew and the cameramen.
So we said, "Have you added more PrimeRecord?
"What have you done? We've got three times as much."
PrimeRecord, depending on how you lace it, can be ten times more powerful.
Fifty times more powerful, depending on how you wrap it.
All I remember is yelling, "action" and being about four feet further back
with a piece of board hitting my forehead.
It was a white flash. You were physically moved across the room.
It was confidence installing.
[Depp] I was confident that day on the beach
when the barrel shot up into the sky.
[Gore] At that point, though, it was surreal.
We were at the go-wrong factor.
I looked at you and I couldn't even say anything like "We'll fix it."
I was just like, "Oh, boy." There's no place to hide.
[Depp] There's our boy Trevor.
Horribly ironic. "Say goodbye."
Trevor passed away in the post-production of the movie.
- [Depp] He's missed. - Great guy. Really miss him.
[Depp] Yeah, he was a good man.
[Gore] Vince. Fantastic.
The poor bastard had to have the beard lit every take.
He was inhaling incense particles from his beard.
- [Gore] "Light the beard." - We'd tease him that it changes flavor.
[Depp] He was really fed up but he handled it like a champ.
[Gore] He would get ready to shoot and then a call would come out,
"Light the beard!"
And we'd wait two minutes.
I love this. This worked out really well.
[whistling]
That's one of my favorite shots.
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!
[Gore] Michael and Trevor, playing Koehler and Twigg. Great guys.
Wolski, we should talk a little bit about that.
- The Prince of Darkness. - [Depp] Dariusz. Brilliant.
[Depp] Absolute genius.
In my book, the guy can do no wrong.
[Gore] It's not like he's a tweaker. He's got 20 setups a day.
- He's got great instincts. - [Depp] I think Dariusz is a miracle.
I couldn't believe it when we started shooting that he was so laid back.
He'd put the things there. You'd say, "You want me to...?" "No, don't worry."
- [Depp] The confidence level. - [Gore] He's a painter.
[Gore] He starts with a black frame and puts light where you need it.
[Depp] The Caravaggio way.
[Gore] Lighting everything and then start turning lights on and off.
He's got great intuitive sense. He and Martin have a great relationship.
That's rare, the operator and cinematographer relationship
where they trust each other.
Martin's great. I'd say, "We're about to get a bad kick on the wine glass,"
and his hand is moving it.
Or an actor is leaning over and he'll just grab their hip
and gently apply a little pressure to bring them back into shot.
Actors don't mind because he has a way of saying, "I may do this."
"If you lean out of the shot, I may touch you during takes."
It's not a touch that takes you out of the performance.
It's good ballet.
[Depp] Geoffrey Rush. Actually, Barbossa.
I used to tease him with that now and again.
[Gore] I love that bit, "We named the monkey Jack." "Subtle."
Jack.
I wrote him a letter.
I said, "You're my third choice for this movie.
"I couldn't get Alec Guinness or Peter Sellers."
I don't know who else can celebrate this villainy in a Wicked Witch-type way.
A lot of actors would do it as a paycheck.
Or do it and not understand the humor.
Or play the humor and not understand the inner angst.
I think Geoffrey sees this role like, "These are the good ones."
Genuinely, he sees it as one of the rare opportunities to do something like this.
He kind of celebrates it.
And he understands, at the same time, the curse is...
...an incredible set of blue balls.
Ten years is a long time to have this villainy,
this currency you can't spend anywhere.
He's hurting.
I love the look when you take the apple and take a bite.
It's like when your Macintosh starts to go...
[Depp] I think he's beautiful in the film. He looks beautiful.
And it is the Margaret Hamilton of the high seas kind of thing.
It's that caliber. It's that beautiful performance.
[Gore] He really owns it. He fits into the wardrobe.
That monkey, I want to kill that monkey.
That's the thing about Geoffrey.
If you look at the dailies for that scene,
the animal trainer's calling it, clicking, trying to get its attention.
That monkey turning every which way. Couldn't sit still.
It's not even like I'm scratching off the word "and."
We got a segment of a sentence before the monkey jumped off,
flipped out or started to freak out.
Because all the pirates were making him uncomfortable.
Geoffrey would just sit there, totally stoic.
"You have a name, missy?"
Once he felt the monkey stop for a second,
he would deliver that moment. We could say, "Got that line, next!"
He would, for four hours, be in that performance.
There was a point halfway through. I was like, "We should start over.
"We'll cut to the monkey on a pedestal."
He was really cool. He said, "No, the monkey's going to be good.
"I can handle it."
[Depp] I love the yellow eyes. The hepatitis D.
Hepatitis Z.
[Gore] It's definitely a great look. Ve was great.
Remember when we first met in that funky restaurant in London?
That was nice.
[Depp] My initial feeling was that I've just scared this guy.
He thinks I am absolutely out of my mind.
[Gore] I was more like, "How long can I keep this secret?"
[Depp] About the nose?
[Gore] I knew two things.
I knew the film could support... because Orlando was doing Errol Flynn.
The other pirates all have rotten teeth.
We were talking about your approach to the character.
I think I said, "So what is it?
"I know you are going to play against your good looks.
Where's the boundary?"
You said, "I think Jack doesn't have a nose.
He lost his nose in a swordfight."
[Depp] But it got sewed back on.
- [Gore] And it was blue. - Because the circulation was bad.
[Depp] The thought being that his only fear is not necessarily death,
but a common cold and pepper.
[Gore] Sneezing.
It would be hard to get that thing put back on.
[Depp] I thought that would be fun.
As soon as I said it, I thought, "This is never going to work."
Even if you were game for it.
[Gore] My mind immediately was going, "How do I sell that?"
I couldn't find an angle.
This was in the infantile stages of the Bruckheimer-Dick Cook experience.
Back home, Synergy is talking about McDonald's and Happy Meals.
After three bottles of wine in London, we're talking about a slashed-off nose.
Oddly enough, I was quite willing to go there.
[Depp] You were great about it.
[Gore] I knew I wanted Mackenzie's eye.
Really, if you look at Jack Davenport,
even Orlando's performance,
on their own they're solid and, in context,
they're fuel for you to consume.
If everybody did what you do in this movie, it would be a disaster.
There's a kind of contrast.
One question about your business, boy,
or there's no use going.
This girl...
...how far are you willing to go to save her?
[Depp] There's the scab, by the way.
More than anything, they fed the monster in Captain Jack.
Orlando's earnestness and Jack's holier-than-thou...
[Gore] The stealing of this ship, the Interceptor,
I remember this day when the two ships separated.
I was told we were going to cut two lines.
They were tied together in San Pedro. There were many lines running across.
My brilliant idea was that Orlando was going to cut the ropes.
When I said "action," he'd cut the ropes and the ships would separate,
but there are huge, four-inch lines attached to the ships.
There were five of these big, fat lines.
The marine unit said, "We are going to let two of them go,
"and then when you say action, we'll let the other two go."
The sails are full. The cameras weren't even rolling.
Suddenly, boats just started moving.
Wind, boats started moving, lines were stretching.
I was like, "Turn over, roll camera!"
Martin is looking at me. "What?" He's putting the camera on the head.
It took four hours to get them into position.
They weren't going to come back, and the sun's going down.
We just started turning over. It was insane.
You could hear the sound of the lines.
I was yelling, "action," but nobody was ready.
Just the sound of rope and ship...
[Depp] That was the most frightening sound.
- Taut. Tautness. - [Gore] I remember you saying
on your microphone, something like, "Something is horribly wrong here."
- [Depp] "Something's not right." - "Is this supposed to happen?"
- [Gore] "Not good." - Yeah.
- [Depp] It was that moment right there. - Yeah, right here.
[Gore] You can see these lines that are getting taut,
right after that moment, they were snapping.
Bits of wood were flying across frame.
- One of 'em caught one of those pegs. - [Depp] A belaying pin.
[Depp] The rope got taut. You could hear the ropes going...
Getting really tight like rubber bands.
I thought, this is wrong, something's wrong.
There's a tape of it somewhere.
Suddenly, the belaying pin snapped
and went right into my knee at full speed.
What felt like taking a ball-peen hammer to the kneecap.
It's the first thing in my life that's taken me off my feet.
[Gore] You were out of frame. It was like somebody edited the shot.
You were in shot and then you were gone.
[Depp] You should put that on the DVD.
I got the recording, you got the story. Unbelievable.
[Gore] We should put that together. You were just dropped to the floor.
- [Gore] Six inches higher and... - [Depp] Oh, boy.
[Depp] Thank God I've got two kids!
[Gore] Game over.
I think it was the beginning of our "oh boy" moments.
When you hit the ground running, making this movie in under a year,
and you're improvising...
- [Gore] Thank God you're all right. - [Depp] It could have been ugly.
[Depp] It turned out all right.
The moment right after that was when I drove the ship for the first time.
[Gore] You had to stand. You couldn't walk. I said, "Are you all right?"
You were like, "As long as I don't have to move."
They put you at the wheel and I yelled, "Crew, duck down!"
- [Gore] "Bring the ships closer." - [Depp] I had no idea.
[Depp] You said "roll," and then everybody hit the deck.
I was the only one standing next to the wheel.
[Gore] You're driving this 160-foot vessel with the sails up.
I don't think you'd been to sailing school.
[Depp] I missed that section of my training.
I remember you screaming from the boat, far away,
"Come closer to us."
[Gore] We had to do that drive-by.
Captain Brad. You remember Captain Brad?
[Depp] What an amazing group of people.
[Gore] They brought that ship, the Lady Washington, out of Seattle.
They brought that vessel to LA. We painted it, added a few things.
Brian Morris designed it as the Interceptor.
Derek Hill and the guys painted it up. It had never been out of Puget Sound.
[Depp] The ship? Good Lord.
[Gore] They brought it down to LA and then we shot for a little bit,
and then sent them to the Caribbean. We said, "We'll meet you in 60 days."
[Depp] Down the Panama Canal.
[Gore] That's the adventure.
These guys do the reenactments but they are the real thing.
They really sailed it.
They broke a mast, and ended up in Colombia doing repairs.
I remember getting emails from these guys.
They've got some footage that should be on the DVD that's outrageous.
[Depp] What's fantastic also is that they keep that old-school thing.
The captain's the captain. The first mate is the first mate.
They bark the commands, and everybody repeats them.
[Gore] We had a great team of advisors.
When I was a kid on this ride... I don't know if it was part of your upbringing.
For me, we'd drive to San Diego and go to Pirates of The Caribbean.
It freaked me out, to be honest.
As a six-year-old, it was both scary and funny.
If there was anything to take from the ride, it was that.
The combination and that perverse sense of humor.
[Depp] Jack feeling lucky.
[Gore] It's so interesting. Jerry would always laugh at the slaps.
It tells you something about him.
We would sit in screening after screening.
We'd seen it a hundred times, myself, the editor and four other guys.
There's nothing in the movie that's funny to us anymore.
We would watch it, and the slap would come.
He would break out laughing every time.
I'm not quite sure what that says.
[Depp] This was an interesting night. Waiting for the pigs to settle down.
Wasn't there one giant one?
[Gore] The pigs hijacked the production.
"We'll have to come back. They need their rest."
We had to shift everything over to the bar scene,
come back three hours later before the sun is rising.
Kevin had to sneak up next to them so he was ready for the first splash.
- I remember doing the stick really low. - [Gore] "Don't wake the pigs."
[Gore] This is what I love about Kevin, too.
When his character enters the movie,
I can't think of anyone better to tell us the back-story.
[Depp] 'Cause he had that sea talk. "It was one of those nights..."
[Gore] You're waiting for the dissolve.
- Gilligan's Island kind of thing. - [Gore] Totally. He's phenomenal.
[Depp] Good actor.
[Gore] This is a fun scene.
There's a whole ending to this that'll probably be in the deleted scenes,
where Orlando kicks over the table.
The kid's a little bit of a stick, isn't he?
[Depp] This was a fun night.
[Gore] I love all this stuff that you do.
[Depp] Mr. Subtlety.
Breaking his neck to show him.
[Gore] Derek lit the whole scene with candles.
There are candles burning your beard, and your dingles.
[Depp] Yes, the Barry Lyndon approach.
[Gore] They're just everywhere. It's nice.
[Depp] The film really moves.
One thing I noticed, 'cause you're in shock watching this for the first time.
The film really moves nicely.
[Gore] It's a lot of stories to tell, especially in this section.
- It's a lot of exposition. - [Depp] A ton of subplots.
[Gore] Tried to keep it as interesting as we could.
But I love Lee and Mackenzie. These guys. Pintel and Ragetti.
There's The Wild Bunch, and even in the old pirate movies,
they allowed these peripheral characters to have these whole stories.
You couldn't trust the movie because it might suddenly follow them.
Those character players were on contract so you could just bring them into shows.
This look from Geoff. That's like a vampire seeing blood.
[Depp] He's just arrived.
- Wasn't that the first day of shooting? - [Gore] Yeah, it was.
[Gore] Everything's on wires and moving around the ship.
He really wants to watch her because he can't taste.
When he finally goes for the apple, it's like he's had his plan
but he can't wait any longer.
After two bites, he's immediately going for the apple.
It's poisoned!
There would be no sense to be killing you.
Then release me.
He's really great, and he wears you down as a director.
He just calls you. It's his love of what he does.
He calls you on the weekend, at home, on the cell phone...
"I was thinking about this line."
I'm in the supermarket, in the frozen peas section, and Geoffrey Rush calls.
"I was working on this one line, and I was thinking..."
That's why it was great to have Ted and Terry on because,
at some point, I had to make the movie.
We'd have a discussion and they are the wordsmiths.
They'd carve out a better way of saying this or saying that.
They were really open to all the ad-libs.
All the stuff that you and Geoffrey were doing,
that's really in the scene, all of that performance.
Like a shift of the eyes, or a longer pause, or a moment or double-take...
I found that two days before the scene, those guys wrote most of the ad-libs in.
A lot of the stuff ended up on the page,
because you would pitch it or we would talk about it.
- [Depp] They were great about that. - Yeah, and they would just put it in.
[Gore] And the stuff they didn't like, we just did it anyway.
- Remember there were moments when... - [Gore] You'd get the look from Ted.
[Gore] "I was thinking of calling him a eunuch."
I don't think that one ended up in the script.
[Depp] They didn't put that on the page.
Then when I did it again in a later scene with Barbossa...
[Gore] It wasn't even worth discussing.
I said, "Let's just get it in there."
But we were going to do the snip-snip somewhere else.
[Depp] That was there.
No. You're right, that was somewhere else.
I wanted to say to Orlando something about having a lovely singing voice.
[Gore] But that's there. "Lovely singing voice. Eunuch."
[Depp] No, but to Orlando, I was going to say something.
It wasn't the lovely singing voice, it was, "Did it hurt?"
"Did what hurt?" "You know, snip-snip."
There is always the sequel.
[Gore] He'd just look at me like...
"Why do you just make fun of me?
"Does he really think that?"
- [Depp] This stuff is so shocking. - Great. You see Pintel and Ragetti.
[Gore] You see the faces of these guys retaining the performance.
With CGI characters, it was so essential,
shooting this stuff with the real actors,
and then holding the animators, Hal and John, to the performances.
They were really good about that.
They would study the actors' performance and take everything from it.
There's Trevor.
You can tell who's who.
The thing about skeletons, is they go so quickly you go, "What?
"Who's that guy?" They look the same. It's like people in spacesuits.
If they don't have a number two on their back,
you don't know who's talking.
This scene with Geoffrey...
I was adamant about keeping his eyes.
You can take a sphere and put a glint in it,
a highlight, and put flesh around it on a computer, but...
it's hard to convey a thought.
That behind-the-eyes. "What's going on behind the eyes?"
Those are still his eyes in this scene.
It's the same in your close-up.
[Depp] So those are actually our eyeballs?
[Gore] Yes. Color-treated to match into the scene.
If you go completely computer-generated, you lose that.
[Depp] Seeing Geoffrey's skeleton with a nose. It's really just decaying meat.
[Gore] That was an early decision to remind ourselves of who he is.
And lip sync with no lips is kind of a problem.
That was a nightmare.
- [Gore] "My heartie." - [Depp] The banana.
[Gore] You were pissed off at me this day.
[Depp] We were having a bad day.
[Gore] I felt we got over our issues after the second take.
[Depp] We were okay.
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?
[Gore] I love this scene.
[Depp] It was a fun scene to shoot.
I was trying to be mad all day but it was a fun scene to shoot.
[Gore] It doesn't matter what happens between takes. That's what's so great.
This stuff is for eternity.
It's so nice to see. You just... and you're there.
This is the scene where I was screaming across the beach.
I'm not one to lose it very often. I completely lost it this day.
They were driving production vehicles through our frame at sunset.
Someone decided to bring the landing craft around to wrap ten minutes early.
They just drove it right through. The sunset moves at about half a knot.
I went ballistic.
That's beautiful. It's nice to have the Caribbean look in the film.
It was a quick scene to shoot. It felt like a fun scene.
We could do longer takes.
[Depp] Oh God, look at this!
[Gore] Again, Howard Pyle at the wheel.
- [Depp] Saturated. - [Gore] Remember this?
[Gore] The wide shot was a model. This was down in San Pedro.
Just massive rain and wind machines.
[Depp] I remember I couldn't see a thing.
[Gore] Neither could the camera.
We were getting obliterated. What you see here are the moments
where the camera isn't completely drenched.
[Depp] It was like the Great Deluge.
[Gore] This is the Ryan's Daughter approach.
Again, not an essential scene in the movie, but a nice mosaic.
You've got to have the storm scene.
[Depp] One must. Yes.
It's also nice seeing Captain Jack for the first time, really on it.
[Gore] It does explain the compass.
But it's nice to set it at night and to do a big storm number.
I think the mosaic of different looks through the film helps.
Helps give some life in between all the exposition
because we are still in the back-story section of the movie,
explaining how he got off the island, explaining the curse.
This is that whole section.
[Depp] There are a million different stories to tell.
There are so many different stories to tell,
and servicing each one is really very complicated, very difficult.
[Gore] When you're burdened with that as a filmmaker,
it's nice to change locations and looks,
and go from the moonlight serenades
to the bright tropical setting, to the storm and then to the fog.
Because it's a lot to ask an audience to sit and listen.
- [Gore] That's a great shot. - [Depp] How is that done?
It's a completely synthetic model shot.
[Depp] Totally? The whole shot?
The foreground is practical miniatures and then it's a dry-for-wet.
The sharks were added from stock footage.
- That's a lot of different things. - [Depp] A really beautiful shot.
[Gore] I like when you close the compass and David's look to you.
Cotton.
The tsetse flies.
This was nice, one of several scenes that didn't exist until later.
That's what's nice about having Ted and Terry there.
They had an outline, and then the script came in. We were already scheduling.
One draft and then they would incorporate storyboards,
ideas that came out of storyboards like your ship sinking in the beginning,
the eyeball, and things like that.
[Depp] Orlando's impression of me.
[Gore] Which I think worked out much better than having the thing explained.
I think the note that, "We need to explain...
why Captain Jack Sparrow is perpetually drunk."
It's nice to ask the question and not have the answer.
[Depp] I was shocked that you left in "from my back".
Just the fact that, that lived in the final product is great.
[Gore] We tried it without it and missed it.
- [Gore] It's one of those things. - [Depp] It needed that bit.
[Gore] Definitely. You have really good instincts.
- He roped a couple of sea turtles. - Aye. Sea turtles!
[Gore] This whole thing with the turtles.
Ted and Terry are great.
You can present the issue, present the problem,
and you'll get pages the next morning. That's amazing.
They'd ask, "Where shall we work?" I said, "My trailer. I'm never there."
[Gore] They sat in my trailer at the computer.
[Depp] They were as on the ball as possible.
- They were incredible. - [Gore] I've never worked like that.
[Gore] I've never had writers on throughout the entire production.
We didn't have a choice.
The entire movie was made in 11 months.
But they were psyched. They'd never been allowed on set before.
They were always kept at arm's length.
They were like children, really enjoying being around and seeing things.
I would do it again, at any moment.
[Depp] I found it really helpful.
There's things when you look on the page,
they work beautifully but when you get them out in the atmosphere,
it could take on a whole different thing.
To have them there to make changes on the spot was really something.
[Gore] They made so many. They made whole structural changes.
The ending of the movie was written halfway through.
A lot of stuff came out of storyboards and action sequences, and the skeletons.
[Depp] Didn't we shoot this scene twice?
- Did we shoot it twice? - [Depp] It seems like we did.
[Gore] Yes, we did. You know why? The underwater shot.
The section here, with the gold, had camera problems.
Completely out of focus.
So we re-did this. Part of this section we did twice.
This was all built on the stage. Stage Two at Disney.
[Depp] I really think they should have left that set.
- [Depp] It was beautiful. - I'm sure they're kicking themselves.
[Depp] A giant sculpture. It was just so beautiful.
[Gore] I love this kind of ritual-in-progress.
And just good words.
It was really important to me to cast as many Brits as possible because...
in looking at the genre and saying, "Why hasn't it worked?"
I found dialect that didn't have that Robert Louis Stevenson feel.
"The black spot."
It didn't have any of the pirate flavor that was out of the pile.
You know, Treasure Island. That stuff went away.
And these guys do the "Here it is."
If you look at the movie, only Barbossa does the hard "arr."
- [Depp] The Robert Newton thing. - [Gore] Which is great. It's nice.
[Depp] It's a nice homage. A nice salute back to the genre.
[Gore] I don't know what you're doing. Maybe imitating Pepe Le Pew.
You've got some really unique mixture happening there.
And whose blood must yet be paid?
Hers!
You know the first thing I'm going to do after the curse is lifted?
Eat a whole bushel of apples!
[men chanting]
[Depp] Look how into it these guys were. They were so into it.
[Gore] People underestimate the importance of casting of your extras.
- [Depp] It makes all the difference. - [Gore] It's so important here.
[Gore] 'Cause they don't get paid very much. It's not a great job.
You've got to find people who really want to do it and just realize it's fun.
[Depp] These guys were having a ball.
Looking at those coins, I keep thinking of Chuck.
Prop master, prop maestro.
- [Gore] Angry man. - [Depp] Genius.
[Depp] Just brilliant and hilarious.
[Gore] He's so funny. And everybody was stealing them.
It's like not finishing the boat and having the two Porta-potties
that had to be painted out in all the shots.
I love that moment.
"You can't have 800 coins. You can have 42."
We were constantly putting them closer together
to make it look like the box was full of medallions.
I love how he spits when he talks.
Was your father William Turner?
No.
Where's his child?
The child in whose veins flows the blood of William Turner?
Where?
[Gore] And Keira's right there.
Isaac is just a beautiful human being.
[Depp] He's a good guy.
It's amazing, man.
Just watching the thing and seeing all these people again.
This cast was really perfectly cast.
[Gore] It's such a bouillabaisse.
You've got your clams and you need your garlic.
You need all your ingredients, but not too much of one thing.
[Depp] You've got a wide variety there.
[Gore] Finneus back there, with his dreads.
After you wrapped, they'd leave the dirt on their faces and go get some beers.
They would go around St. Vincent, and all the locals would go, "Pirate!"
A great bunch.
The oars have gone missing! Find them!
There were six Michaels on this movie, three Trevors.
I love that walk.
- [Gore] This is just... - [Depp] Confused.
[Gore] Completely delirious.
You're supposed to be dead!
Am I not?
[Depp] This was the mayonnaise moment.
[Gore] The endless ad-lib. This was fun.
Oh, this was... what was it?
[Gore] Partner. "Howdy, partner."
[Depp] "That would be the French."
[Gore] I don't think anybody realized the political context for that.
[Depp] It didn't exist at that point.
We were doing the scene. I was waiting for Gore to cut.
It just didn't come.
Lee and I kept going and started talking about the French
and the inventors of mayonnaise,
that they had nice singing voices. Because they were all eunuchs.
[Gore] Mackenzie said, "I dated a eunuch once."
[Depp] That's when I pulled The Fast Show line.
"I'll get me coat."
[Gore] That was good fun.
Here's some stuff with Jonathan Pryce in the same way.
I just let him ramble at the door, and then he was going...
"Eighteen years earlier, I got a job on Pirates Of The Caribbean."
"They never stopped shooting."
"The woman with three breasts."
The gymnast.
He met a Russian gymnast with three breasts.
When I first cut the movie together,
this was twice as long as it is now.
I felt like we were in good shape because this scene...
The film is about Captain Barbossa.
You talk about him and people talk about you.
You used to be captain of the ship, and he's the mutinous mate.
And there's this impetus to see the two of you together.
That's such a simple scene, standing on that beach in a cave, but...
The whole film crosses there. It's a big criss-cross.
You're stuck with them. She's back with him.
You could feel the whole energy of the film heighten.
You guys together are great.
[Depp] Was that our first bit together? Yeah it was.
[Gore] No, the scene in the ship, the negotiation, with the apple.
[Depp] That was the first thing we shot.
[Depp] Getting to know the character and suddenly it's, "Dive in, folks."
[Gore] There's a lot going on in that scene.
I think it worked out well. It was longer initially.
As written, you're commenting on his ship.
Something like, "You haven't taken care of my ship."
It didn't really work, because it actually looked nice in there.
It's one thing when you're below and you say, "I think there's a leak."
But his cabin is kind of nice.
- [Depp] It's beautiful in there. - So, on the page it read one way,
[Gore] but once Derek got all the candles working for the dinner scene,
it was obviously not going to work that same way.
These two.
[Depp] These little scenes they have together are really nice.
- [Gore] They're beautiful. - They're heartfelt.
[Depp] They were just great on-screen together.
[Gore] These are tricky because it's so close to melodrama.
[Depp] But I think that's the beauty, just hovering in the arena.
Scraping against it, but it's not really.
That's the challenge.
[Gore] It's hard to pull off "Please... don't."
It's almost up there with, "I'm having your baby".
But it is his big epiphany moment,
the returning the dingus.
[Depp] Here's the first day of shooting.
[Gore] It's interesting. You look cleaner than in the rest of the movie.
I think this was after your meeting with Dick Cook and Jerry.
[Depp] Immediately after.
[Gore] After the three front gold teeth. How many went away?
[Depp] Two went away and then I secretly added one.
The two that went away were the ones
I put on to use as bartering material.
- [Gore] It's a very important tactic. - It worked.
[Gore] One of those things that comes up on the day.
[Depp] It just happened in the moment.
[Gore] "Have a shot through the telescope,
with your bad breath fogging the lens."
[Depp] Looking at the breath, yeah.
[Gore] I think the only way we made this schedule,
if you think about water movies and the big disasters...
Getting two ships lined up is a six-hour endeavor,
just to have one ship in front of the other like this.
So we would shoot this.
I've got to hand it to Bruce in second unit,
that bow crashing through the waves. Nice job, Bruce.
We put the Black Pearl in the background and, vice versa, the Interceptor.
The Black Pearl, with the Interceptor is a model comp in the background.
By the time you're going, "A little to your left,"
we'd be there for months.
I think technology has allowed the epic genre to return.
Rather than 6,000 men on horseback that you can't afford,
now you can have 50 men and digitally create another 6,000.
For a long time, that went to animation.
Cell animation was the only place you'd see those epics.
But now with photo-real animation...
Apparently, there's a leak.
[Gore] This was one of the ones that was both storyboarded and rewritten twice.
The guys were great about that. I'd show them my little sketches.
Then finding we had thousands of cards out on the table.
"So when does Jack get thrown into the brig?"
"When does he see the boat turn?"
"When does he come back out and Orlando gets stuck below?"
They were great about that.
You could lay it all out and shuffle it around.
Of course, in the edit room, you change it all, anyway.
Once you see it and go, "What were you thinking?"
[Depp] I loved that giant storyboard thing
that followed you wherever you went on the set.
[Gore] If you completely storyboard a movie,
you neuter the possibilities for happy accidents.
[Depp] That's a great way of putting it.
[Gore] It becomes clinical.
[Depp] If you've seen the movie, why shoot it?
[Gore] For me it's a bore, it's just work.
You might as well sell real estate if you take all the creative juice out.
It's nice to sketch up stuff in the morning,
your coverage, and then putting it up on a big board so you can see it.
You could walk by and see, "That's when I'll see my close-up."
Anybody can look at it, and see what the day's work is.
Then you can quickly change it if the wind is blowing in the wrong direction.
That's what's amazing about this film.
You've got 600 people, and just to go to the extras wardrobe tent
and see all these Brits that flew in and have been up since 1:00 am.
All these people in wigs.
You never see them on set. They're back, you know.
You're eight miles out to sea,
and they're in the soccer field in their huge tent.
Then to somehow stay fluid at the same time.
They stay incredibly fluid, I think, due to the chaos factor.
It makes you have to shuffle the deck always.
"That's not going to work. We'll move to this and rethink that."
That shot turned out great.
[Depp] This whole sequence is really shocking cinematically.
The way you pulled it off, the whole turning of the ship.
[Gore] Pieces were shot on stage at the hangar. Those cannon shots.
[Depp] Look at this. It's giant, man. I had no idea.
[Gore] This is where you feel like you're directing traffic, not a movie.
At the same time, I look over at Peter Kohn,
who is on another boat, and he looks back and is smiling...
- [Depp] That's fantastic. - The fork is great.
[Gore] He looks back at me like a nine-year-old kid,
going, "What a great sandbox!"
[Depp] There is a point where you shooting that kind of thing,
that level of insanity,
- "action" just becomes... - [Gore] You're just praying.
- [Depp] "Whatever." - You're praying no one gets hurt.
[Gore] To be honest with you, George Ruge, our stunt coordinator,
really choreographed some great stuff.
And I must say, we coined two interesting terms in this movie.
"Visual effects ad-lib" and "stunt ad-lib."
Like, "George, can you give me three guys falling in the water?"
"Sure, do I have five minutes?" The whole movie was like that.
[Depp] After they'd rehearsed for months a specific and precise routine,
and you've got to shift it around a little bit, on the go,
and these guys say, "Give me five minutes."
- After months of rehearsal. - [Gore] Amazing. I know.
[Gore] Just getting you out of the water at the ending, that was like...
...now we need something big flying up out of the water, landing on the deck.
How am I going to do that with no money, no time, no rehearsal?
[Depp] This was fantastic. That, dropping.
Was that Geoffrey or Thomas?
[Gore] That was Geoffrey, but it's a split.
We dropped the mast and had him there separately. His "George Patton" moment.
[Depp] What's the moment in Apocalypse?
Duvall, as the bombs are exploding around him.
[Gore] These guys, take after take, screaming. These guys were really great.
I remember the discussion about Orlando.
"You're not going to trap Orlando below during the whole fight?"
"Yeah." "But he's a great swordfighter."
[Depp] It's very smart to tie the character's hands.
[Gore] Absolutely, it's more dramatic to have him not be able to fight.
At some point, he will swordfight.
There's plenty of swordfighting in the movie.
[Depp] There is plenty.
[Gore] It's also his catharsis. It's his death and resurrection.
[Depp] This shot is reversed, I noticed.
[Gore] What happened there was the ship didn't cooperate with us.
You coming up from the stairs, geographically, is on one side.
The entire sequence is the other side of the line.
Even though we crossed the line and came back, too many people were confused.
So, I said, "Just flop that shot and keep you consistently right,
and the Interceptor consistently left."
[Depp] It works well. No one would notice, I don't think.
[Gore] There are whole websites dedicated to finding mistakes.
[Depp] There's one, folks.
[Gore] I can point out 14 you're never going to notice.
There are grips in shots, with hats on.
The guys with barrels are water-agitator guys.
[Depp] This was a fun moment.
- The monkey. - [Gore] That's a great ad-lib.
- [Gore] Monkey. - [Depp] That was fun.
[Depp] I was just waiting for you to say, "Can you not say monkey?"
- [Gore] Why? - You never did.
[Gore] No, it's perfect.
I love that shot, too. The two monkeys.
- [Depp] Tony. Bless him. - He did great.
Why, thank you, Jack.
You're welcome.
Not you. We named the monkey Jack.
[Gore] That monkey performance is not a composite. That's just dumb luck.
[Depp] Just on the money.
[Gore] Back in the tank.
[Depp] Was it in the tank down in... Where were we?
[Gore] Long Beach.
You can go, "Caribbean, Long Beach, Spruce Goose hangar, Stage 2."
This sequence was shot...
Basically, the length of the movie, we'd pick up a piece.
A small set piece here, there.
[Depp] What a puzzle, man.
Any of you so much as thinks the word parley,
I'll have your guts for garters!
- [Depp] He was very good. - He was worried about his accent.
[Gore] I think he delivered really nicely, kept consistent.
He's really dedicated.
Big model composite.
You took advantage of our hospitality last time.
It holds fair now that you return the favor!
This was the most fun. Look at these guys.
You tell Keira one thing and tell the guys another thing.
She goes free!
What's in your head, boy?
She goes free.
[Gore] I love the stuff you do in this scene.
It was really great.
Again, you've got like four cameras and don't know...
[Depp] It was interesting. We didn't know where the cameras were,
so it's, "Okay, go."
[Gore] The schedule was insane. You're just hosing it.
You have the specific shots, and then you've got...
Thank God we always had a 100-mm on you, just getting those things.
I could tell by looking at the dailies, there are moments.
And you're always doing something.
But there seem to be these great little peeks.
...and be lost to Davy Jones' locker!
Name your terms, Mr. Turner.
Elizabeth goes free!
Yes, we know that one.
Anything else?
And Geoffrey's great, and Mackenzie...
It's a great group, even these four-shots and seven-shots,
with these faces.
Agreed.
[Gore] Ah, yes, the island.
I think this is when everything was peaking.
Barbossa, you lying bastard!
You swore she'd go free!
Don't dare impugn me honor, boy!
I agreed she'd go free.
It was you who failed to specify when or where.
[Gore] The island, the reefs.
The locals are going, "No, bad, don't do it. Reefs."
The marine unit's going, "We got GPS."
"We know where every reef is."
[Depp] All the torches and flashlights were on one boat.
[Gore] "It's safe." I love that. "Is it safe?" "It's safe."
Keira ended up with her mom, floating, bless her soul, on a reef.
Stuck on a reef in pitch black.
[Depp] Crazy.
[Gore] They don't sail around there at night at all.
- [Depp] No, they don't. They're smart. - [Gore] They were laughing at us.
[Gore] The poor guys driving the ships
were going, "I sure could use a local."
Looking at his GPS going, "I don't feel good about this."
"Can't we just get a local guy on every boat?"
'Cause they've got this stuff down.
Petit Tabac.
This is again a lot of painting out of sailboats and tourists.
That's the big crime.
You can't find a deserted island on this planet anymore.
There's a hotel, or a tourist site...
- [Depp] It's pretty rare. - [Gore] They just don't exist.
[Gore] National parks don't like you burning their palm trees.
[Depp] Apparently, there's a problem with that. It's not welcome.
[Gore] We brought in our own and did the rest as a composite.
- [Gore] Nice dive. - Another nice dive by Tony Angelotti.
[Gore] I'm putting the longer version of this island scene on the DVD.
There is some great stuff. I love the stuff you do with the ball.
Putting the ball on the gun when you're drying out your gunpowder.
That and the scars, I think, are really great.
[Depp] I forgot about the scars.
[Gore] We had to make a lot of deep cuts here.
It's something Ted and Terry and I discussed at length.
You've reached the point where you know everything you need to end the movie.
And you've got 40 minutes left.
[Depp] Lord. Really?
[Gore] If we could do it all again, we would learn something.
We learn about Jack and how he got off the island.
I love this jumping, and the walk, and the knocking on the tree.
- [Gore] I think we had a good time. - [Depp] We had a ball.
[Depp] This scene was probably the one that sticks out to me as the most fun,
just because it was Jack really exposed for the first time.
[Gore] Completely deconstructed.
The jacket's off, the hat's off.
The myth is gone for the moment.
Completely evaporated.
[Depp] And she was so good in this.
[Gore] But structurally, this is where you should learn something
that changes the third act.
That's my only criticism of the script, in general.
I wish somehow, on this little cul-de-sac here, on the island,
that some knowledge was gained that fundamentally changed the third act.
And, even though it shouldn't, it works because you guys are so good.
Normally, I think you can't take a summer movie and stop here
and just do character work.
Everything's plot.
[Depp] I remember you saying at a point early on
you thought the scene didn't fit.
[Gore] It's not that it didn't fit.
As written, it was eight and a half minutes longer than this.
The momentum is...
I think it's good to take a dip after the ship battle, to slow things down.
It turned out compressed and you get the important bits.
- [Gore] "Why is the rum gone?" - [Depp] Which is the important bit.
[Gore] This is a beautiful take.
We shot this on the island. We shot this in Malibu; on a stage...
Little pieces everywhere.
[Depp] Father Time holding a 17-year-old girl.
I felt just like Methuselah.
Putting my arm around this innocent teenager.
[Gore] I think that's the beauty of that character.
He honestly believes he is going to get lucky.
"Things are not so bad. We got the rum." And the ship's gone.
It's that honesty with that, "It never would have worked between us."
[Depp] He attempted to spruce himself up, twirling his mustache.
- [Depp] Poor bastard. - [Gore] That's the heart of the scene.
[Gore] It was nice to have the two of us
taking on the whole special effects department.
Tempers were hot.
[Depp] We were sore for a moment then.
[Gore] You had my back, Jack.
[Depp] I always have your back.
[Gore] Everybody else was going, "This is ugly." You were there.
You've burned all the food, the shade...
- ...the rum! - Yes, the rum is gone.
Why is the rum gone?
One, because it is a vile drink...
[Depp] I couldn't believe that the guy had spoken to you like that.
- [Gore] It was nice. - [Depp] It was bizarre.
- [Gore] Everyone said, "Weird scene." - "Weird scene. Wrap."
But why is the rum gone?
Just wait, Captain Sparrow.
You give it one hour, maybe two,
keep a weather eye open, and you will see white sails on that horizon.
- [Gore] I love that performance. - [Depp] Pulling himself back together.
[Gore] Just brilliant.
[Depp] The background is amazing there.
[Gore] Jon did a really great job with that.
There'll be no living with her after this.
- But we've got to save Will! - No!
[Depp] There's that wig.
[Gore] I think it's nice at this point that these guys return in the story.
- [Depp] No question. - Like, now we're back.
[Depp] You miss them, you do.
[Gore] Angus.
I can just watch him the whole movie.
I love this, the bad breath thing.
[Gore and Depp laughing]
[Gore] Jack's breath is like a donkey's ass.
It is just beautiful.
For me!
As a wedding gift.
Elizabeth.
[Gore] She's great.
- [Depp] This was a fun moment. - [Gore] She's just there.
I am.
A wedding! I love weddings!
Drinks all around!
[Gore] It's really a joy to talk about all the little things.
With Jack Davenport, Jonathan Pryce, Keira, what's going on.
With your character. Like, "This isn't a bad ship. Maybe I can work it."
I feel like the new plan is developing.
Always up to something.
[Depp] That's what's such a rare thing.
The thing is rich in characters.
Everybody's very specific.
And paired off perfectly.
Mackenzie and Lee, Pintel and Ragetti.
[Gore] I felt Murtogg and Mullroy were like Laurel and Hardy.
These guys were Laurel and Hardy on acid.
Put them together and it's matter and antimatter.
I can watch him forever.
The faces, makeup, lighting... really just great faces.
That didn't sit too well with the captain at all!
- Tell him what Barbossa did. - I'm telling the story!
- [Gore] Those two. - It's like Archie and Edith Bunker.
[Gore] They're an old married couple.
They've spent a lot of time together.
[Depp] Lee's makeup is fantastic.
[Gore] Charlie Gibson, our visual effects supervisor,
went to Lee's high school.
He finished the movie, saw the credits when they were done,
and said, "Lee Arenberg, is he in this movie?"
I was like, "You've been staring at him, fixing his eye, for months,
"digitally putting in the wooden eye."
He said, "That's him?"
I don't care for the situation.
[Gore] Those telescope shots, we spent a lot of time...
There's some guys at Method, good friends of mine, these French guys,
they spent hours looking at old telescopes and the distortion.
[Depp] Also, the caked dirt around the edges were a really nice touch.
- [Depp] All crusty. - [Gore] This location.
[Gore] Three divers in the water trying to hold the boat off the rocks.
[Depp] So we didn't crash into the rocks.
- [Depp] And they did. - Just sacrificing their bodies.
- [Depp] This guy was very good. - [Gore] He is. Damian O'Hare.
[Gore] I think we got lucky on a lot of these parts.
- Just first choices all the way around. - [Depp] Isn't that incredible?
[Gore] It's like, you meet a guy. "You want to do the movie?" "Sure."
[Depp] Amazing.
Geoffrey with that apple.
Always the apple.
That's a beautiful through-line for him.
[Gore] It's the one thing he has, this desire.
He just wants to taste again.
To feel.
[Depp] Again, these are things that are so clear, so well-written.
[Gore] Our one-armed extra.
Ted and Terry really are great at connecting the dots.
[Depp] The guy breaking up the game show.
Where's Elizabeth?
She's safe.
[Depp] Captain Jack stepping in.
[Gore] It's like "The Graduate" or something. Banging on the glass.
The reintroduction of your character here is great.
The two of you together,
I feel like there is all this history.
He hates you more than anything and you hate him more than that.
The games you guys play, it's fantastic.
[Depp] These two characters know each other really well.
And hate each other, but need each other.
There's a lot of layers.
[Gore] Without spending a lot of time together, you guys...
[Depp] It felt pretty clear.
[Gore] On screen, you'd look each other in the eye and it was all there.
[Depp] This was the night that Giles had his kid, I think.
He was out in the middle of the water.
[Gore] We were trying to fly him back.
- [Depp] His baby was born this night. - [Gore] I feel so horrible about that.
[Gore] We got Mackenzie back for the birth of his child, but not Giles.
I hope his wife forgives him.
There you are with two ships.
The makings of your own fleet.
You'll take the grandest as your flagship and who's to argue?
[Gore] Great negotiation.
[Depp] Now Jack can be clear.
[Gore] I just love this. It's such a confidence game.
I suppose, in exchange, you'll be
- wanting me not to kill the whelp. - No. Not at all!
By all means, kill the whelp!
[Depp] "Kill the whelp." I love that line.
"No, by all means, kill the whelp."
[Gore] This thing coming up with you taking the coin, this was never in...
Originally it you were to throw the coins back and we'd hear the extra one.
We had it cut that way for the longest time, but people were really confused.
"Did you have the coin at the beginning? Were you always a skeleton?
"How come you were never shown in moonlight?"
Even though you've never been to the island before.
'Cause your mutiny really threw a lot of doubt in the audience's mind.
We actually looked at the footage. We didn't do a re-shoot.
There was one where we actually reversed a little shot and slowed it down.
When you were palming it, we put the music in there to signify it.
It really helped.
Apologies. You give the orders.
Because the other issue that became apparent was how the curse functioned.
[Depp] Very tricky deal there.
[Gore] It was really tricky how we had the multiple curses.
You created your own curse but it was different than their curse.
Once we got both coins going back in the chest,
the intuitive response from the audience is,
"When the coins are returned, the curse is over."
As written, there was always "the other coin is out there."
They've all returned but you're still a skeleton.
We had to do that whole fix-it job.
I'd like that on the missing scenes,
even though we don't have your performance as skeletal.
I love when you say, "It's not a bad look, really."
It's a beautiful performance. I really wanted to see that.
This is all dry-for-wet.
Green screen. Composite work.
These guys.
I can't believe I got away with this in a Bruckheimer movie.
I remember I went to Penny Rose to ask when I'd get to see the dresses.
She's like, "They killed the dresses." I said, "What do you mean?"
And Penny says, "They told me not to make the dresses."
I'm like, "I need the dresses. It's in the script."
"It's the thing I've been working on."
She said, "Don't worry, I made them anyway."
- [Depp] Bless her heart. - She's so great.
[Gore] I think that's one of those things Jerry was, "Are you sure...
...about the umbrellas and the dresses?"
There's the umbrella motif.
The moonlight and the shadow.
It was difficult to do the whole moonlight and shadow thing.
Technically, every one of those ropes is casting a shadow.
There would be a little line across somebody's face.
It's a huge cheat and creative license.
But also, cue the moon
when you need your skeletons.
Which I thought was a great idea.
Instead of just making them the skeleton army,
I think Ted and Terry had the idea
that only in moonlight you see them as skeletons.
It really allowed you to have actors and not just creatures.
You can imagine if they were just like this the entire movie.
It would really wear on you.
[Depp] Also, the effect of the gradual change from human into skeleton.
When Geoffrey steps into the moonlight, for instance.
[Gore] When you are swordfighting in and out of the shafts, that's fun.
Even these guys in the shade here,
even as pirates, they're decomposing.
I feel like they were pretty disgusting before the transition.
This was great.
We shot all of this hand-held to keep that combat footage feel.
It became a nightmare on the one hand,
because you had to photograph and there's nothing there.
After shooting it with an actor,
the cameraman must remember where they are, and pull focus.
I like that you check the genitalia on the statue.
[Depp] I had to check the sex.
[Gore] "What is that thing?"
And then it ends up in your bag at the end.
And 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...
[Gore] Ten years ago, we would have had to shoot this
with motion-control and green screens.
It would have been clinical. Today's technology frees you up.
You can grab a camera and keep it raw.
I love this piece of music, too. Hans and Klaus did a great job.
[Depp] Coming up is a line from Elizabeth,
I remember when I saw the trailer, it made me laugh out loud.
[Gore] What, the corset line?
[Depp] It came so unexpectedly.
And so well delivered.
[Gore] It's a tough line to pull off.
She's got such confidence and she commits.
[Depp] She can make it all work.
[Gore] I think she's launched. I think that missile is launched.
[screeching]
[Gore] Monkey.
[Depp] Monkey.
[Gore] It's nice to have this whole oscillation
between the movie for kids and yet there's enough for adults.
The child in all of us.
[Depp] It never seemed like just a kiddy movie to me.
It always seemed like it would appeal or should appeal...
[Gore] But if you play it in a wide audience,
you can feel the kids laughing at the slapstick stuff,
you can feel the adults laughing at "Why is the rum gone?"
and the character-driven moments.
It's nice when you get 400 people in a theater and you feel that movement.
[Depp] I've not seen it with an audience.
Just the premiere, but that's a different kind of deal.
[Gore] A lot of agents.
You've got to go see it with 500 strangers.
That's when you learn about your movie. When it's out in front of those people.
[Depp] Definitely.
[Gore] Jonathan. Just great. He came back with this whole sequence.
Again, it was a late decision.
[Depp] There's a strange Bea Arthur thing going on.
- [Depp] "Maude." - [Gore] Completely.
[Depp] With that wig.
[Gore] I'm glad we put him on the ship. Originally, he didn't exist.
He never came back.
One of my concerns was you've got... all these skeletons
and the British Navy, and nobody's on the ship that you care about.
And it was like, "What about Governor Swann? Let's put him in."
That's how he ended up back in the movie.
It's nice. It was great to have him. He came back in for a week.
This is fantastic. I love this.
Hal did a great job with capturing your performance.
- You did some motion-capture for this. - [Depp] The little ping-pong balls.
- [Depp] I love the coin thing. - [Gore] Those are your eyes.
[Depp] That's bizarre.
[Gore] It's great to be able to do that.
[Depp] The transition between moonlight and shade is really something here.
[Gore] It's the most difficult stuff
because they're locked to the performance.
They can't invent anything.
Your coming in and out has to be tracked to your performance.
I think it's nice. You retain the actor's performance in the scene.
Massive cheating with the moonlight here.
I think the angle of the moonlight is 45 degrees.
It ended up at about 180 in the windows there.
[Depp] That's all right, it's a full moon.
It's everywhere.
[Gore] You guys really did some great swordfighting here.
[Depp] It was nuts.
The lizard running on water.
[Gore] The best lizard move is coming out of this sequence.
Lip sync with no lips.
Really tricky.
Had to do the tongue.
I love this. It's like the Scarecrow.
- [Gore] Right. The Scarecrow. - Ladies and gentlemen, Ray Bolger.
- [Gore] That. Right there. - [Depp] Lizard running on water.
[Gore] Fantastic.
[Depp] Absolutely amazing, the ability to keep character on the skeletons.
You see exactly who's who.
It's not just generic skeletons.
When you see Trevor Goddard, Lee, or Mackenzie, it's really them.
[Gore] That's the one thing we did have time for.
Prepping the movie, we had conceptual artist after conceptual artist.
All these guys who were working in my office, doing drawings.
As the cast photos came in, we'd do versions of each actor as a skeleton,
and picking that up and working on that,
doing photo-real representations from the line sketches.
Also, props and hats and hair.
Who's got what pistol? What do we keep? What do we lose?
Look at those dresses. They're just fully decomposed.
The cavalry has arrived.
[Gore] It's just so nice to keep the hand-held camera for all this stuff.
I'm not into that super-clinical feel.
It's really important to keep it random.
- [Gore] You can tell it's Isaac. - [Depp] No question.
[Gore] All that performance is taken from Mackenzie.
It's 100 percent Mackenzie there.
I'll teach you the meaning of pain.
You like pain?
Try wearing a corset.
[Depp] Tough cookie!
[Gore] Significant moment.
Whose side is Jack on?
You mean at the moment?
[Gore] I love this piece of music and the way it takes off.
It's old-fashioned pirate cue
yet there is something fresh about it and you enjoy it.
[Depp] That's the thing about the film itself.
It brings back Old Hollywood.
As you said, there is something in it for everyone.
As films used to be.
No fair!
[Gore] Keepsakes from the cave.
[Depp] I stole a lot, quite a few pieces of treasure.
My daughter even stole treasure from the cave.
[Gore] We couldn't find any coins. There were no coins left.
You'd fill that cave with extras.
At the end of the day, there would be chalices and mugs missing.
[Depp] You hired a bunch of guys to be pirates!
[Gore] They're in character.
He didn't waste it.
[Gore] I like this performance from you and Geoffrey.
I like how serious you play this, too.
[Depp] He had to come back, the gravity of the moment.
I feel...
...cold.
[Gore] He's great.
[Gore] You get a nice piece of music here.
Somehow, when I heard this cue,
I felt, "The movie has actually been about something."
It's good fun, but...
We finish this up nicely. With the composers, it was insane.
We were so rushed, they would have computers,
and they'd have a session and a phone patch,
and they'd have a choir recording from 9:00 till 11:00
and brass from 11:00 till noon
and the same cue and then the strings would come in.
They'd play the same cues, all the click tracks,
MIDI being fed across the world.
Parley?
[Gore] It was like an army.
The ship is ours, gentlemen.
Huzzah! Huzzah!
[Gore] Jonathan Pryce is just classic.
- [Gore] Classic moment here. - [Depp] The wig askew.
[Gore] The boxing thing here.
It's brilliant.
This is where that scene was omitted with you and the chest closing.
- It was a good lift. - [Depp] It cleared up the curse.
[Gore] It completely cleared up that they all have to return to the chest.
I think, as written, it was tough for an audience to understand
that if you take one, you create your own curse.
"What about the pirates? They took them all.
"How come one guy didn't put his back? Why isn't he normal?"
It did make a lot of sense to just simplify it
down to they've all got to get back into the box.
- [Gore] But it was a great scene. - [Depp] It was a fun scene.
[Gore] I like all this stuff you've pilfered.
- [Gore] Happy days! - [Depp] Here's Dean Martin.
[Depp] There he goes.
[Gore] There's some diver under that boat, holding his breath.
[Depp] This was early on in the shoot.
[Gore] We had to come back to this quite a bit.
Weather changing.
This scene didn't even exist in the first draft.
It ended at the Island of the Dead.
I thought, "That's kind of a bummer."
I think coming back was a good idea. The film has quite a few endings.
It felt like the right place to finish things off.
I love the listing of all of your crimes.
[Depp] There are certain things he is proud of.
- [Depp] Yeah, he's proud of it. - [Gore] That's great.
...arson, kidnapping, looting, poaching,
brigandage, pilfering, depravity, depredation,
and general lawlessness.
[Depp] I remember when we did these. It was a day later.
Elliott Marx, bless him, our stills photographer,
who has gone on to another plateau.
Rest his soul. Good man.
But he gave me a stack of photographs.
He was so excited by just the imagery.
He was loving it. He really loved every second of it.
[Gore] I was already thinking that's who I want to bring on all my movies.
As much as I tripped over him, stepped on him, and he was in shot...
always telling him to get out of the frame...
- [Gore] But he cared about the movie. - [Depp] He was a method stillsman.
[Gore] He was in there, he wanted to get as close as he could.
He was on the crane, under your legs. He was really talented.
- [Gore] I miss him. - [Depp] He was something else.
[Depp] I remember when we were in the Caribbean on Petit Tabac
and I showed you something in the...
[Gore] Very nice. Stall number three. There was some fine art.
- [Gore] I'd like to get that print. - [Depp] And Elliott went in.
[Depp] We searched him out and he took the photos.
[Gore] That was quite a creation, whoever that was...
...has got some talents that the world has yet to witness.
[Depp] It was a special moment.
[Gore] That was when the grips were brushing their teeth with beer.
It was a wonderful section of the film.
Keira getting lost on the reef and barrels exploding.
Don't worry, it's safe. Just a test.
A barrel flies 40 feet and takes somebody's head off.
[Gore] We came back to this set of cues.
That's great. All this stuff you do here.
The feather.
[Depp] It was nice. Like available stimulus.
It just so happened the thing...
[Gore] You're such a strong flavor, I actually had to start framing you out.
All this stuff is great.
If all I've achieved here is that the hangman
will own two pairs of boots instead of one, so be it.
I couldn't stop watching you.
I had to start going, "Pan to the right."
[Depp] "Get him out of the way."
- [Gore] You were earning your keep. - [Depp] Mugging!
[Depp] This was the bit where it was difficult
to keep a straight face with Jonathan.
[Gore] Everything is so earnest here.
It is.
[Gore] There, you were still there. That's nice.
I love this exit. This whole section is great.
We had come back and pick up something, too.
Jonathan's reaction to the breath.
[Depp] He killed me, man.
[Gore] He's fantastic.
I love that. "Know that."
This is just...
It would never have worked between us, darling.
[Gore] I love how much he believes that.
- [Gore] It's beautiful. - [Depp] "She loved me."
[Depp] "She always loved me. It's better off this way."
It's like, he's got an audience, so let's add to the myth.
[Gore] All that stuff, falling off cliffs,
swinging around, getting shot at...
...he's really not a very good pirate.
But the myth is, so it doesn't matter.
The myth is out there and it says he's great.
[Depp] It's the rock 'n' roll star thing.
When they're on tour, the whole idea that the band is coming
reaches the town and starts the excitement way before they arrive.
[Gore] Taking those rare photos out of Circus magazine
and pasting them up on the wall.
"Keith Richards is coming to town."
Now all that stuff, you get so much of that,
the visibility is so high.
Myth is so much about appetite too...
...and being a little starved.
This is really good writing, taking the sword idea and using it.
The coming back, the good man idea. The code.
Those connections, those guys are really good.
The movie's not laden with subtext.
It's text, actually, not subtext.
It's spoken. But these guys are really good.
I think the credit really goes to Ted and Terry,
for just doing a fantastic job with the story.
[Depp] It's just also what you shot and put together...
given that skeleton of the screenplay, and throwing the meat on this deal.
[Gore] It takes a village.
[Depp] It takes a village. It takes a whole town.
It takes half the state.
[Gore] We gave you the kiss and the crane shot.
There you go. You've got it.
[Depp] Cotton's parrot. I remember that thing pecking his eyes out at times.
[Gore] George and Tony and the boys put this thing together.
And Jimmy. Just a great team. They put that thing together in no time.
That's, again, ad lib stunt work.
"I need something." "When does it shoot?" "Tomorrow."
They would just put something together.
The hat!
- [Gore] The movie's about hats. - It's a movie about hats and wigs.
[Gore] Like "Dr. Strangelove" is about chewing gum,
this movie is about hats.
- [Gore] Caressing the phallus. - [Depp] A little phallic moment here.
[Gore] Eisner was very concerned about this.
Take after take after take.
Now... bring me that horizon.
And really bad eggs
[Depp] My singing debut.
[Gore] Musicals next, I believe.
Thank you, everybody, for listening.
[Depp] Thank you very much, Gore.
Thank you for listening.
Thank you, Ted and Terry.
[Gore] Thank you for the water.
Fine sparkling medicine, really.
[Depp] I never saw that. "Based on Walt Disney's Pirates Of The Caribbean."
At the end of the credits, there is a...
[Gore] An Easter egg.
[Depp] I've not seen it, but I've heard about it.
[Gore] You have to be very patient.
A lot of people worked on this movie.
[Depp] Penny Rose.
[Gore] I'd take her anywhere. She's unbelievable.
Just really knows how to keep the director's vision
and then to go off and work with actors.
Actors want to wear certain clothes. She is able to explore that.
When you first showed up with that wardrobe,
and all your stuff in your trailer, with your teeth,
I was just kicking myself with joy.
[Depp] I'll never forget when I first got into wardrobe and makeup and hair.
You walked into the wardrobe room where I had been dressing.
You walked in, you had a cigar. You went, "That's it!"
[Gore] It was just so right. It was so alive and perfect.
We were in a contemporary motor home, in a trailer, in the real world,
and I was just taken to a place.
I felt like everything else is fake, that's real.
It was that impressive and immediate and don't change a thing.
[Depp] It was suddenly the Howard Pyle kind of thing brought to life.
Thanks to dear Penny.
[Gore] Ve and Martin... and you. All your research really paid off.
- [Gore] It was a joy. - [Depp] Or a hell.
- [Depp] There's all the names. - [Gore] All the people.
[Depp] David Bailie. Cotton.
[Gore] Poor bastard, didn't get a line. The parrot stole the show.
But he's such a great face, and really overqualified.
Look at the stunt team!
Look at the stunt team. Unbelievable.
I'm glad that Jack's crew and Barbossa's crew got credits.
These guys were really there every day.
[Depp] My dentist even got a credit, I think.
- [Gore] So he should. - [Depp] Absolutely. He deserved one.
[Gore] It was amazing, that many people worked on a movie and did a great job.
At some point, you get completely myopic.
Here's the frame, here's you or Keira or somebody.
It's like a triangle.
There's us, and the actors and the scene and there's 30 people behind that,
60 people behind that, and 400 people behind that,
and another 200 people, and then the editorial staff.
Composers and musicians.
I felt like it was a small movie, too.
[Depp] It felt totally like an intimate bunch
of people working together, making the thing.
[Gore] There were days where you'd come around the bend
and there was two helicopters loading.
One dropping in cargo containers.
[Depp] Joe Pancake?
[Gore] Christopher Boyes, George Watters.
The sound team did a great job, too.
[Depp] It is amazing what Lee was able to save, keep.
[Gore] He is amazing.
You rarely get mixers complementing the sound that's been recorded on set.
They protect the downsides.
It's in their interest to go, "It's garbage but I'll see what I can do."
You always get that. "Who recorded this? It's horrible."
"There's a fan. I can't hear. There's a generator sound."
[Depp] He had everything against him.
[Gore] He gets compliments.
He's the only guy. It doesn't matter what movie you're on.
The mixers will ask, "Who is this guy who did the sound?"
He'll go to Rafi, our gaffer,
and ask, "Do you have to park the generator there?"
"Can't you park it around the corner? It's 50 feet more cable."
"Does the boat have to be running?"
He drives people nuts but he cares. He saves the sound.
[Depp] I remember before my entrance into the film,
he was where I am standing on the crow's nest of the dinghy.
He came to me and said, "Do you think you'll go in the drink?"
'Cause I had a radio mike on.
I said, "I don't think so."
He said, "I'll leave it on you then. Are you going to say something?"
I said, "I don't know. We'll see."
Five minutes later, he said, "I'll take the radio mike, just in case."
[Gore] He's one of a kind.
[Depp] A good man.
[Gore] I would listen to movies and go, "Who did this sound, the dialogue?"
I found his name on films where I really respected the sound.
I had to find out who he was.
I worked with him and felt I've got to get this guy on every movie.
He's amazing. He drives people nuts.
But it takes a guy like Rafi... Mostly, gaffers hate doing extra work.
The light's got a fan on it to keep it cool.
Rafi is great. A heart like a baseball glove.
He's such a warm guy.
He knows Lee is doing his job.
He'll do anything he can to help Lee. That relationship is unique.
- [Gore] It's very rare to see that. - You say there are a couple of guys,
at least a couple, you said you'd take them on every movie.
It was like practically everyone in this instance.
Can't we just make this a series and do it all the time?
- [Gore] Just keep the gang together. - [Depp] It was such a happy family.
[Gore] You turned me on to Ve and that she wanted to do the whole show.
I thought she was just going to do your makeup.
- [Depp] She did amazing work. - [Gore] She's a class act.
[Depp] Everyone was under quite a bit of pressure, but she's a great artist.
[Gore] She comes in every day with a good smile
and doesn't make a scene back there when you're directing on set.
Sometimes, because of the ADs, the schedule, the turnaround,
the gossip trailer is makeup.
They're winding everything up in the production.
She really keeps it like we're all in this together.
She doesn't do that game, which I think is really to her credit.
[Depp] She came in, did her gig.
Great attitude. Martin as well. Martin, hair.
[Gore] Yeah, he's fantastic. He's working with you now.
[Depp] Great team.
[Gore] I thought production was hard, 18 hours a day. Editorial was insane.
[Depp] Here it is.
[Gore] Poor Geoffrey's just sitting there.
And the apple.
Monkeys don't swim. That was the first problem.
- [Depp] He did, though. - [Gore] There was a plank underwater.
[Gore] Two feet under the water, a plank.
- Ladies and gentlemen, good night. - [Depp] I like it.