[man 1] Hello there. I'm Rob Marshall,
the director of Pirates of the Caribbean: On Stranger Tides.
[man 2] And I'm John DeLuca, executive producer.
[Marshall] And we're thrilled to be here, watching this together. [chuckles]
- [DeLuca] Oop, there are mermaids. - [Marshall chuckles]
[DeLuca] Thanks to our editors.
[Marshall] Yeah, our wonderful editors, Wyatt Smith and David Brenner.
[DeLuca] They love that touch. [chuckles]
[Marshall] And produced by Jerry Bruckheimer, this is his logo,
and what a great man he is, extraordinary person to work with.
[DeLuca] I had never worked with him before, and he was just so positive
and supportive throughout every aspect of this.
[Marshall] A real master.
What's fun for us is that, I don't know if you're watching this in 3-D or not,
but that opening shot is so fun in 3-D
because you feel like the water's coming at you.
It was a real... real experience filming this in 3-D.
Because we, um... we had to take these very delicate cameras
into very remote locations, and this is one of them right here.
[DeLuca] And we were guinea pigs, in a sense, as we took these 3-D cameras,
as Rob was saying, into real locations with real actors.
[Marshall] And this whole opening sequence, this Spanish sequence here,
was something that, I think, kind of came late in the development.
It's interesting when you work on movies, um...
...you know, it really is a collaborative process,
everybody's working together. I think that's how it really works best,
is when, uh, you have a room full of creative people
and the best idea in the room wins, and so, um, you're constantly working.
It was a great collaboration with Jerry and, uh, of course, Johnny Depp,
who was really involved enormously,
and our writers, of course, our great writers Ted Elliott and Terry Rossio.
Um... They were so wonderful to work with because...
...no ego, you know, and just listening and working to find the best ideas.
[DeLuca] And Johnny, as well.
I mean, he's the kind of actor we love working with.
Just loves to collaborate and he loves to be inspired and to inspire,
always has interesting ideas and willing to add his little two cents.
[Marshall] Exactly.
What is this?
[DeLuca] I do think it's... I've seen it in 3-D and 2-D,
and I enjoy both, so I don't even have a preference, so...
[Marshall] Some really great actors here, some Spanish actors here
that we really loved working with. Juan Carlos Vellido,
and, um... you'll see one in one moment, The Spaniard is fantastic.
I'm probably gonna mess up these names, obviously, but... Oscar Jaenada,
and, uh, Norberto Moran as the castaway there.
And, uh... our King Ferdinand, Sebastian Armesto is so good.
Here, as well.
And that's Tristan, as the captain.
With the tide.
[Marshall] I remember seeing this opening sequence here,
this title sequence, in 3-D for the first time.
It's so fun because The Pirates of the Caribbean comes towards you, um...
...and, uh, it's a great way to sort of enter into the world of 3-D.
This is, um... our London, England, of, uh... [chuckles] the 18th century.
And, um... we shot this all in Greenwich,
Greenwich, right outside of London,
and a magnificent location because it's contained.
You can be in this one area without having to lock streets down,
and so forth. It's all yours, and so you can transform it.
[DeLuca] We added all this dirt to the streets the first day,
and by the second, it was mud for the entire shoot.
[Marshall] Because we shot in the winter and it was really raining then.
[DeLuca] These extras...
[Marshall] Or the fall, really, wasn't it?
- [DeLuca] The fall, yeah. - [Marshall] Middle of the fall, yeah.
[DeLuca] You, really... I think the extras casting people did a great job
because watching every face of these extras was just such...
- I really felt I was back in the 1700s. - [Marshall] It's true. It's true.
And John Myhre, we might as well talk about John right now,
with this opening set, uh... the courtroom here.
What's so wonderful about John... This is the fourth or fifth collaboration.
- He's done every movie we've done. - [DeLuca] Our production designer.
[Marshall] And a beautiful artist,
and he recreated this fantastic courtroom for us.
And all throughout, I mean, you'll see...
...the variety of locations and set design and production design
throughout is really astonishing.
And there he is. [chuckling]
[chuckling] We have to mention about those gold teeth
because what's unbelievable about Johnny is that
those gold teeth are absolutely bonded on.
He does it prior to production and he leaves them on throughout,
and they're really painful. I don't know how he does it, but it's something...
He wants to live the character,
and he doesn't want to take them on and off every day,
and so they're on his teeth.
They file them down and put them on and then he has to have them removed.
It's an incredibly lengthy process, but it's worth it for him.
[DeLuca] And he loves being a pirate.
- [Marshall] Yes. - [DeLuca] He truly does.
The prisoner claims of being innocent to being Jack Sparrow. How do you find?
[Marshall] Wonderful character actor who we love working with here, so funny.
Guilty?
- Guilty verdict means he'll hang. - [crowd cheering]
[DeLuca] We were so lucky with all those great character actors in London.
[Marshall] That was one of the joys of shooting in London.
We actually sort of shot backwards. This is what we shot last.
We shot all the London material last,
and all the early, sort of, jungle stuff first.
It's just how it worked weather-wise and location-wise. And, um...
So here we are... in London, and this is towards the end of our shoot.
- [DeLuca] Mm-hmm. - [Marshall] And Kevin McNally,
it was so great to have him back as Gibbs,
just a great actor, and a wonderful man, as well.
I mean, we really lucked out, John, with this incredible company of actors,
really, it's so fantastic.
[DeLuca] All very unselfish, all thought about the project as a whole,
- which I'm always impressed with. - [Marshall] Yeah, exactly.
[muffled shouting]
[Marshall] I think one of the things that was interesting
about taking on this movie, specifically for us, I think,
was that it really felt like a completely fresh, new story.
I mean, none of the other Pirates had actually taken place in London.
And so to have the story in the opening sequence,
this whole beginning, taking place in London, was a whole fresh, new idea
by Ted Elliott and Terry Rossio.
And also, um, we have all these new characters which you haven't met yet.
These are characters that we know from before, Jack Sparrow and Gibbs.
But, um, what's great about this movie, for us,
and I think the reason we felt like we could come into this,
was for this fresh... new beginning to this franchise.
...Gibbs from one appointment with the gallows.
Seeing as how you're still alive...
[Marshall] Every time I see this scene I laugh, John,
because this was our rain cover.
The majority of the movie takes place outside,
so we had very little, what they call, "rain cover."
If it rained, what do you go do?
So we brought this paddy wagon, this old, rickety paddy wagon,
around with us everywhere.
[DeLuca] It traveled everywhere, didn't it?
- [Marshall] Yeah. - [DeLuca] Always was in the back alley.
[Marshall] I think we shot this a couple times.
It'd sprinkle, we'd do a little of the scene, we'd go back and...
But, you know, when I watch Johnny here, I'm always astonished
by his facility with language.
He just makes this very rich and detailed language seem so natural.
It just comes flowing out of him.
And, you know, this is an actor who's never had, really, formal training.
You know, not really, but he has the gifts...
...and the incredible facility of a trained actor.
[DeLuca] Oh, he is absolutely a Renaissance man. He's a total artist.
He picks up an instrument and he can play it, that's how talented he is.
[Marshall] Yeah.
[DeLuca] I'm sure he could do Shakespeare.
[Marshall] No, there's no question. He... memorizes so quickly.
He knows the entire thing.
He never makes a mistake. There's never a flub, ever, from him.
Um... It's sort of extraordinary.
Now we're about to enter into one of my favorite locations
that we filmed in England, which is Hampton Court Palace,
which is just right outside Richmond, um... England,
and it's an extraordinary palace. It's the palace of, um, King Henry VIII.
And, uh... to be able to shoot there was really something else.
[DeLuca] We had visited this, prior to, as tourists,
and to see it again and to be able to actually film there was such a treat.
[Marshall] This is the Painted Hall in Greenwich.
So we were able to take advantage of being in Greenwich.
And, uh... Johnny's so funny there.
And then this room was built.
It was because, you'll see in a moment... it's, uh, somewhat destroyed.
[chuckles] So, we couldn't just go into any location and destroy it.
[DeLuca] We had specific needs with this one.
[Marshall] Exactly.
Very detailed. You see the incredible work done in all the sets here.
The gilding, all the painting.
[grunts]
[Marshall] This, um... was beautifully lit by our cinematographer,
director of photography, Darek Wolski,
Dariusz Wolski, we call him "Darek."
But it's Dariusz Wolski who worked on the other Pirates,
but he was wonderful about coming in and working with, uh, a new team,
a new director, um... and didn't hang on to anything.
Never said the words "We did it this way" or "We did it that way."
We really approached it as a new piece.
And I also think the fact that we're in very different locations, uh,
like this here, for instance.
You are Jack Sparrow?
- [DeLuca] Again, these great actors. - [Marshall] Yes, I mean,
King George is played by the great Richard Griffiths,
who is an astonishing stage actor.
[DeLuca] West End and Broadway, I mean, and film.
[Marshall] And it was, um... it was Johnny's idea.
I had actually also had the idea, but we hadn't shared it with each other.
And Johnny said, "What about Richard Griffiths for King George?"
I said, "You have the best taste."
- [DeLuca chuckles] - [Marshall] "It's perfect."
But also Anton Lesser and Roger Allam, these fantastic British actors here.
Um...
[DeLuca] They're mostly stage actors, I believe, and they're just...
[Marshall] And they do film, but their stage work is amazing.
- [DeLuca] Monumental. - [Marshall] Roger Allam just won
the Olivier Award, recently, playing Falstaff.
...named Jack Sparrow.
You've brought me the wrong wastrel.
Find the proper one and dispose of this impostor.
[Marshall] I think Johnny gets such a kick
out of working with Richard because, um...
...he loves this movie called Withnail and I.
- Is that what it's called? - [DeLuca] Yes.
- [Marshall] And he loves... - [DeLuca] Small English film.
[Marshall] Small English film that's a cult favorite.
And Johnny just loves it so much, and he loved working with Richard,
but Johnny's an incredibly generous guy in that way.
He loves working with actors, and he gives to them.
He's not a selfish actor for half a second.
Have you a map?
No.
[Marshall] What we were trying to do at the beginning of this whole sequence,
was really just set the whole thing in motion.
That there's an impostor. That was... That was sort of the new element
that really sort of began this whole idea of being in London.
And seeing Jack Sparrow with the King of England was such a new, fresh idea.
You do know the way to the Fountain?
[DeLuca] How many times did he eat that strawberry?
[Marshall chuckling]
- [DeLuca] Many times. - [Marshall] Well, it's funny, you know,
people think that you have forever to sort of work all this out.
And, the truth is, even on a big movie like this, you're moving very quickly.
So, um, I try and rehearse as much as possible.
I think, because I come from the theater, I like having that process,
but you're moving pretty quickly, and coming up with these ideas, you know...
- ...on the spot. - [DeLuca] We rehearse,
but we leave it open.
- [Marshall] Right. To see what happens. - [DeLuca] To spontaneity and those
brilliant mistakes that happen.
[Marshall] And there's the great Geoffrey Rush.
What an extraordinary actor he is, an actor's actor, really.
And what a field day he had playing this new kind of Barbossa character
who is no longer a pirate, but a privateer, working for the king,
as you see. And, um... he's such a kiss-ass with the king.
It's so hilarious to see him with this badly powdered wig and face,
a little bit of lipstick and beauty mark.
He just looks so horrible because... [chuckles]
It's hilarious. He's really a wolf in sheep's clothing here.
[DeLuca] As if he's fooling anyone, you know?
[Marshall] No. He wanted it to look just like, not like a good job. [chuckling]
The leg was interesting, you know.
At first we talked about how much of it do you think we can do real,
with an actual wooden leg,
with having Geoffrey sort of have his leg hidden up behind him.
- [DeLuca] Yeah. - [Marshall] But, you know,
you need to, um... It's very difficult to do that, and painful.
The only way to do that is to really kind of spend
months rehearsing it that way and getting your leg used to it.
[DeLuca] And movie hours are so long,
to be in that would've been just excruciating.
[Marshall] Yeah, so ultimately we decided the thing to do
was to give him a blue sock, which is really what we, um...
...like a little baby blue screen, which we could then paint out,
and put the wooden leg in.
But Geoffrey asked for a little nub on his shoe,
so he would have... so he would know how to walk with it.
This is what I meant by "tearing up the place,"
which is why we couldn't be in a real location, this all had to be built.
[men shouting indistinctly]
[Marshall] 'Cause, as you see in a moment, he throws this out the window,
- a window made of candy glass. - [DeLuca] Mm-hmm.
[Marshall] He had to be careful. If you even touched it, it would break.
Because the guy goes out the window there, we had to raise this entire set.
Just for that one moment, the entire set had to be raised, like, um,
ten or 12 feet off the ground so he could jump out.
One of our favorite moments. It's like the cherry on top.
This action sequence begins here and goes on for quite some time,
and it really is the opening action sequence of the piece.
And we had a great time, um, putting this together,
because we knew it was the opening sequence.
We wanted it to really sort of jump-start the movie,
and give it a real, um, inertia.
And I think it's important with these kind of movies,
this genre of movie, which is a classic action-adventure,
to really, um, space out these set pieces.
And so you see... where they're coming,
and how they fit in, because I think it needs that rhythm.
[DeLuca] The rhythm is crucial, I was just going to say that.
[Marshall] There's our Captain of the Guards, Luke.
Wonderful... Also wonderful British actor.
All these great... We really took advantage of being in England
to work with these great actors.
Now there's Greenwich, there's the street.
You see how many... how much background we have.
I mean, there were thousands of people there, and carriages and carts,
and, I mean, it was...
When you're walking onto a set like this, you realize how lucky you are
to be working on a production of this scale.
[grunts]
[Marshall] Well... [chuckling]
This is a very dear friend of ours, Judi Dench.
[DeLuca] One of our favorite ladies, yes.
- [Marshall] An amazing woman. - [DeLuca] Favorite dames.
[Marshall] Yeah, one of our favorite dames, and, as we know,
one of the greatest actors of all time.
And she did this wonderful favor for us.
We thought this would be a great place for a cameo at the top of the movie.
And she... she is an extraordinary woman.
Because all she needed to hear that it was... She loves Johnny.
She worked with him in a film called Chocolat,
and she heard it was gonna be us and Johnny and she said "I'm in."
In fact, we said, "There's a scene where Johnny Depp lands in your lap."
And she said "I'm in." [chuckles]
And... she came in and did that for us, and just kicked off this whole sequence.
[DeLuca] She has a wicked sense of humor.
[Marshall] Yes, she does.
- That was her line, "Is that it?" - [DeLuca] Mm-hmm.
[Marshall] That was hers. So funny, she said, "Can I say that?"
I said, "Of course you can."
What's interesting is, John and I, having worked on musicals...
There's... I didn't realize this would be like this,
but when you're filming an action sequence like this,
it's rehearsed and shot very similarly to a musical number
because you see how intricate it is.
You need to choreograph it, and we choreographed it
with our wonderful stunt coordinator, George Ruge.
Um... It needs to tell a story. It needs to develop character,
and it needs to... just as a musical number would.
And so, of course, it's a very different beast,
but there is something similar about how it's put together, how it's rehearsed.
It was really incredible taking these 3-D cameras into these locations.
This section, right here, was all on a backlot
that we created at Pinewood Studios in London.
This whole section here.
Not easy to find this kind of location, right, John?
[DeLuca] Yeah, we couldn't.
[Marshall] And, uh... But working with the 3-D,
there were times we really wanted to make sure
that we had the 3-D moments there. Um...
You know, I'm from the school where not every movie should be 3-D, I don't feel.
I feel that it has to lend itself to it,
and this world of the pirates... felt like it made sense.
Hello, Jackie.
[Marshall chuckles] And there's Keith.
Keith's an amazing guy. Funnier than you imagined,
and much more self-effacing and humble than you imagine him to be, too.
And Johnny's great friend and mentor, I think, in many ways.
[DeLuca] He's so respectful of Keith and...
- ...vice versa. - [Marshall] Yes.
Have you been there?
Does this face look like it's been to the Fountain of Youth?
[DeLuca] There's your line.
[Marshall] That was my line, that's what I was saying before
about how you collaborate. I said "Wouldn't it be funny if Keith said
you know, because of that fantastic face
with such great age in it, 'Does this face look like
it's ever been to the Fountain of Youth?"' That was my line.
But it was something... That's how it works.
You're working together to create something,
and, um... that's, I think, is how it works.
[DeLuca] We were wondering whether he'd be off-put by saying that...
- [Marshall] Yeah. - [DeLuca] ...if you remember.
- [Marshall] He was great. - [DeLuca] He was a great sport.
[Marshall] I told him after this scene, "You're such a good actor, Keith."
- He said, "You should see my Hamlet." - [both laughing]
[Marshall] He's so funny.
[DeLuca] Well, he's just himself, which is just so refreshing.
[Marshall] Yes. And I was saying, there's Stephen Graham,
they just were sitting there, as Scrum.
And that's his wife, Hannah, who we love.
[DeLuca] Mm-hmm.
[Marshall] He suggested having her come in, she's a wonderful actress as well.
And Stephen is a great new addition to the cast.
So funny as Scrum. Great character name, isn't it, John?
[DeLuca] Mm-hmm.
He can do anything as an actor, this one.
[Marshall] Yes, he can.
And Johnny loves him. He wanted to work with him as well.
This was a suggestion from Johnny,
and, uh, we looked into it and I thought it was a brilliant idea.
[DeLuca] I love this claustrophobic pub set.
[Marshall] It's a great set to be on.
I mean, this set just went from room to room to room to room,
and it was all low ceilings, and...
You know, as I was saying before, the decision to make,
to go with 3-D, um, on this film,
was specifically because there is a very real world that you're entering,
and... when you're watching it in 3-D,
you feel immersed in that world. Um...
We rarely did the cheap thing of, you know...
...popping things out of the screen.
I think we felt we did that in a few places where we felt it was earned.
But mostly the reason to be in 3-D was to sort of step into this world,
and feel like you're inside of it,
traveling on this great adventure with Jack Sparrow.
You've stolen me, and I'm here to take meself back.
[Marshall] This was something we filmed in Pinewood.
All this was shot in Pinewood.
And, um... once again, we're right into the second action sequence here.
That's, you know, the nature of these kinds of movies.
You know, you move from action piece into action piece...
...um, as you're telling the story.
And this was fun because we got to play with the, uh...
...the Harpo Marx of it all. John, I think about that and the Lucy show,
in, uh... that wonderful sequence she did with Harpo,
that sort of inspired that, somewhat, a little bit of the mirrored thing here.
[grunts]
[Marshall] Um, one thing we should also talk about Johnny,
is Johnny's amazing facility as a, uh...
...in the physical department. I mean, he's so physical.
I mean, you see some of this work that he's doing here.
He is just so quick at anything physical,
especially with the sword work. Um...
[DeLuca] His work is just perfectly fluid, that's why he can just...
He doesn't have barriers. He sees lines, he memorizes them.
He sees sword fighting, he gets it very quick.
[Marshall] He sees it once or twice and then he says,
"Can I see it one more time?" And then he can just jump up and do it.
[DeLuca] He's very childlike in that way. He can watch something and...
...doesn't have a lot of voices in his head.
- He's very clear. - [Marshall] Very clear.
This was, um...
This was quite a set because there were, obviously, two levels here.
This, all of this here, with the, um, barrels,
you know, they were on harnesses, which, of course, are removed later. Um...
But it's dangerous. Yeah, those barrels are going.
We had some great effects guys here who made all that work for us.
And, also, you gotta work with these coats and all that...
They have... hair and hats and coats, all this period garb, yeah, boots.
[gasps]
[Marshall] I was... I wanted to end this fight with a kiss
because I thought it was the way to end... end it with a proper,
as we call, "button" to the sequence, and a surprise.
And, um...
And here's one of our great, great, great dear friends and collaborators,
who we love so much, Penélope Cruz, who...
I'll tell you, when we were... we were trying to come up with
who's gonna play this role, it was a large bill to fill.
We had to find someone who could do all these...
[chuckles] ...these crazy things.
I mean, she had to match Jack Sparrow, Johnny Depp,
and go toe-to-toe with him throughout this film.
She had to be funny, beautiful, sexy...
...um, physical, and a great actor.
[DeLuca] And we wanted somebody with fire.
[Marshall] And it was... It came down to only one person.
There was only one choice for this role, ever, and that was Penélope. Um...
We'd just finished working with her on Nine, and John and I took her to dinner.
And, um, I waited till the end of dinner and said to her,
"Penélope, would you ever consider doing a Pirate movie?"
I don't think I finished the word "pirate," she jumped out of her skin
- and said, "Oh, my God! Yes!" - [DeLuca] She did.
I remember her leaping up
- out of the chair. - [Marshall] She was so excited.
Because, you know, I think it's very similar to us in a way.
I mean, for me, um, variety in your career is very important.
For her, I know she was excited
to do something completely different than she'd ever done before. And, um...
And that was this, she'd never done an adventure like this, ever. Um...
And, for us, I feel the same way.
People said, "This is such a departure for you."
But, you know, movies are something
you spend a long time making, and it has to be a part of your life.
It's a life experience.
And we spent over, what, two years on this film,
and when you do that, you want to have a unique and different experience.
So, um, I'm always looking to mix it up and do different genres.
[DeLuca] I always loved the history of these characters.
It's not... It's touched upon,
and I just hope people really get it, 'cause it's just so vivid to me.
[Marshall] I think it's clear that she's...
...whatever's happened in their past is not finished yet
and they have more to work out here.
The great thing about it is you never know who's telling the truth
because they're pirates. They have to look out for themselves.
They're constantly conning each other, out-conning each other throughout.
I don't know many people who could do what Penélope's doing right here.
She's funny... and she's physical.
- [DeLuca] Passionate. - [Marshall] Passionate.
This was an idea that came, to spray these barrels and so forth,
as a topper to this sequence. Um...
We had a whole, and completely different sequence here.
They were actually going... It was going to be wintertime,
which we got rid of. We decided, early on, not to make England winter.
Um, but there was another huge sequence that was, um... that had them on ice.
Do you remember that, John? Slipping and sliding on ice
and going through an ice fair, and all these things,
but we found this other idea of just the fun spray.
You know exactly how.
I know...
- [DeLuca] This was a long, wet day. - [Marshall] Yes.
What's amazing about this, right here, is a beautiful paint...
...sort of matte painting, I would call it, but it's really a CG work.
We were in a tiny little pool here at Pinewood,
and, uh... We're telling all the secrets.
[DeLuca] That really is... He did get that much water from being in the water.
- That wasn't set up. - [Marshall] That's true.
But this is just a little pool with a blue screen,
and... they made it look like we were in London.
Extraordinary CG artists that we worked with.
We had many different companies, some from England, some from America.
Movies like this are big, and they need a lot of...
I mean, if you watch the end credits, you'll see.
It goes on and on and on and on. [chuckles]
There's our Quartermaster, Ian Mercer, a wonderful British actor as well.
[Gibbs] It's a life sentence...
[Marshall] This was shot north of London,
at this, uh, incredible manor house...
...that we were trying to replicate a feeling of the Tower of London here.
And this is one of... I remember this took one of the longest, uh...
I mean, we spent location scouting on this forever.
We could not find the proper place until, sort of, the very end.
- But I loved filming here. - What's happened to you?
- Where be Jack Sparrow? - He escaped.
I'm on a tight schedule, Gibbs.
The HMS. Providence sets sail at first light.
If you do not care to watch it...
[Marshall] We have two characters here as well, John, who came from...
- [DeLuca] Previous Pirates films. - [Marshall] Exactly.
Wonderful Groves and Gillette.
Damian O'Hare, as we know, who plays, uh... Gillette,
and Greg Ellis, who plays Groves.
What was great about working... For instance, these four guys
had worked together on three previous films together, and, um...
Just excited about tackling a whole new adventure.
It never felt like we were the new kids on the block, or anything like that.
It felt like they were excited to try something different...
[DeLuca] Very open, too.
[Marshall] ...work with a new creative team.
[DeLuca] We had many, many night shoots on this film.
- [Marshall] Yeah, those are brutal. - [DeLuca] They're really difficult.
[Marshall] Brutal, because you're living like a vampire.
You're working at night, sleeping in the day and it's hard to adjust to that.
'Cause, you know, especially when it gets to be three or four in the morning.
- It's really... - [DeLuca] Inhuman, yeah.
There's our symbol.
[Marshall] The symbol that we saw earlier on.
[DeLuca] Mm-hmm. From the book.
[Marshall] And this is our, one of our few interior scenes. [chuckles]
Um... This was shot, actually, in Oahu.
We took this, these sort of... I guess they were called soundstages.
They felt more like warehouses that we sort of turned into soundstages,
and did all this below-deck work.
...no idea what, when, wherefore or why.
No memory of the night afore, whence he signed up...
[Marshall] I mean, you know, the truth is,
what's amazing about working on a movie like this is you're actually
having an adventure while you're shooting an adventure.
That's what it feels like for me, you know. Um...
I mean, I don't know any kid who wouldn't love to be on a pirate ship,
and be below decks like this, you know.
And what's great is if you see...
Everything's kind of moving a little bit, but that's the camera work.
Um... Martin, our great camera operator, and Darek Wolski,
they're just sort of floating the camera, keeping it moving.
And, in our case, two cameras, because we shot with two cameras.
That's what 3-D is: a right eye and a left eye.
Blackbeard.
[Marshall] Well, this ship is... I mean, what an introduction for this ship,
especially in 3-D, it's pretty amazing. Um...
What an incredible ship to be on. It's so powerful.
We have a third tier on this ship which most ships do not have.
Underneath this is the structure of the Black Pearl from previous movies.
And, um...
...we decided not to use the Black Pearl in this movie.
You'll see it, but... we don't actually work on it.
So they took the Black Pearl and we built this, sort of, over it.
Um... And, uh... it is an incredible ship.
I mean, we are really sailing that thing.
And, um... when you see the detail on this ship,
all of the bones, for instance, that you see all throughout,
you see on the rails and so forth and so on,
those are all individually made and gilded and then aged,
and they were meant to be the bones of Blackbeard's victims.
[DeLuca] John Myhre, his detail is...
[Marshall] And Gordon Sim, our set decorator,
who made everything feel so real.
Bible-thumper on this ship?
A missionary is his story.
What I heard was he got captured in a raid.
Rest of the ship got killed, but not 'im.
[Marshall] That's Sam Claflin,
just introducing the character of Philip up there.
- [DeLuca] Our missionary. - [Marshall] Our missionary.
And, um... we must have seen, I don't know, hundreds of actors for that role.
- Um... - [DeLuca] He was right out of school.
[Marshall] You know, we wanted to discover someone new and someone young,
because that's the character.
And what was great about Sam is
that he's not only a magnificent actor,
he's just a person you want to work with.
And that's something that plays a big part in our work.
You know, you don't want to just work with anybody.
You want to work with someone who's a team player.
And, um... he has so many skills.
He's a very funny, too, guy, and incredibly physical, as well,
which he needed to be for this film.
No, Blackbeard has a ship, upon which I am now imprisoned.
We can do this, Jack. The Fountain of Youth...
[Marshall] We had such fun filming this scene because, um...
...the two of them together,
Penélope and Johnny have amazing chemistry because it's real.
I mean, they truly love each other.
You say "cut" and they are... they don't leave.
They stay there, laughing, talking.
They don't go back to their corners, you know.
They truly love each other as friends, great friends, so...
Um... The chemistry that they have as characters really comes from that.
- He bought that? - I sold that.
[footsteps approaching]
Then it's the Fountain of Youth for him,
or him and you, not you and me.
No, Jack...
[DeLuca] In all these... these shots,
I mean, the scenes, it was so tight down there.
[Marshall] Yeah. Don't forget how many people you have there lighting
and working on the film. You have wardrobe.
And, you know, this was a very tight set,
'cause you needed to feel like you were, it was, obviously, below decks,
which is very tight.
[DeLuca] I'll never forget when they first showed us the below decks, and...
...how tight and claustrophobic and...
[Marshall] But I was happy to be on a sound stage,
'cause we'd been, at that point,
in jungles and on ships and this... I mean, especially with the equipment.
And as you said before, John, we really were pioneers. Um...
Live action films are rarely shot in 3-D on location.
It just doesn't happen.
You're either on a sound stage against green screen,
or you shoot it in 2-D and you convert it.
We really wanted to make it feel like you were there.
We wanted to be inside this world.
So, here you go. I mean, a perfect example.
We're on this ship right here, which is a beautiful ship,
called the Providence in our film,
and it's a real sailing ship that actually lives in San Diego.
Is it called the Rose? I think it's called the Rose.
And, um... it's an extraordinary ship.
But we were really sailing this, and we had our 3-D cameras on board,
and all that gear and all that equipment,
and the very sensitive, you know, um... rigs that we worked with.
- [DeLuca] Feeling the pressure already. - [Marshall laughs]
[DeLuca] We got through it.
[Marshall] This was an amazing day. We actually shot this off of Long Beach.
We did not shoot this in Hawaii, where we did most of our water work.
This ship we shot because the ship lived in San Diego,
and they couldn't take it to Hawaii for us.
We shot this in, um... right off Long Beach.
And we went out pretty far. What happens is you don't realize.
You know, you're filming and you're sailing, and you get out pretty far.
[chuckles] Because, you know, you have to kind of go with where the light is.
It's a big part of it, you know. And, um...
And then you find out you're like hours away from shore, so you have to go back.
And I remember when we finished filming, and we were coming back one day,
we saw two beautiful whales.
These incredible whales.
That was at sunset. It was sort of a magical moment for us.
You can see the beauty of this ship.
I mean, it is just... It's just an elegant, elegant, elegant ship.
The topic, gentlemen, is mutiny.
Mutiny most foul.
[Marshall] This is the kind of scene that I love working on
almost more than any other kind of scene.
I love a motley crew of guys.
I love all these different faces, all these unique guys.
And there's such humor to this because, um...
...of who they are, you know.
And casting every one of these pirates,
including this one young guy there, Robbie, who's so talented, um...
Paul Bazely, Christopher Fairbank, we have Yuki,
Richard Thomson, uh... Bronson...
You know, all these great character actors,
it was hilarious to work with them.
- And so... - [DeLuca] I love this scene.
The thing that I remember as I was watching it and we were filming it,
people didn't think it was funny, which is the best.
- [Marshall] Right. - [DeLuca] I mean, nobody...
They were really doing this. I mean, there were no laughs.
[Marshall] Which is the way to do it. I mean, I knew it was funny.
[DeLuca] You did. You did, but nobody... We did it straight.
[Marshall] But you have to. You have to approach comedy like that, as we know.
I mean, it's sort of the cliché...
[DeLuca] The actors have told me after they've seen it,
they've come back and they've said,
"I can't believe how funny that scene is. I didn't know."
[Marshall] Because I think they're playing their roles.
They're not meant to, you know...
It's better not to step outside that and sort of comment on what you're doing.
It's better to be inside it and play it.
But they all have a great sense of humor, these actors, you know,
and led by Johnny, who is the funniest.
[Jack] It would be a sorry plight, mates.
- Death, for certain. - The garden of darkened souls.
- Untimely our ends will be. - Unless...
...we take the ship.
[Marshall] There's also Steve Evets, there, as the purser.
What a wonderful actor. I mean, these great actors that we had play
some of these smaller roles were extraordinary.
[all yelling]
[Marshall] Johnny thought that was one of the funniest things.
'Cause when we first did that, Stephen Graham just jumped up and did that,
and Johnny, it took everything he had just to not completely crack up.
This was Angelica's cabin,
and, um, I think our set decorator, Gord, had such a great time with this
because what does a female pirate's cabin look like, you know?
It's masculine, but there has to be a touch of femininity here and there,
but it really is, you know, she's a tomboy.
She's on board with all these... with these guys.
- So he had fun with that. - [DeLuca] Here we go.
I thought I should give you fair warning,
- we're taking the ship. - [speaks Spanish]
- Nothing personal. - [shouting Spanish]
[Marshall] So this is one of our first, like, major 3-D moments here,
and we thought we'd earned it by now.
And it's fun when that sword comes out at you.
You feel the whole audience sort of pull back.
But, you know, it's great to use it. It's an amazing tool. Um...
You learn so much about it, you know.
With 3-D, you're also, uh,
with each shot, you are determining something called the IO,
which is the interocular distance for each shot.
So you decide how deep you want it, or how shallow you want it.
And then the convergence is something,
which is how much it comes out into the audience.
And that's determined... You determine that on the spot,
but you can make those adjustments all the way through post.
[DeLuca] The zombies were a look that was a hard...
It was a long time getting to that.
[Marshall] Yeah, we had to find the right...
This is Deobia, who plays Gunner.
Wonderful actor and incredibly physical.
You know what was great... I think all of these actors loved sword fighting.
Penélope... They love learning how to do this, and we spent months of training
before we began for them to learn all of this.
[DeLuca] Very similar to the way dancers train or...
- [Marshall] Yeah. - [DeLuca] ...actors train.
[Marshall] And we have to also talk about our wonderful stunt men and women.
[DeLuca] Oh, yes.
[Marshall] That's them out there doing a lot of that and they are...
I mean, they're disciplined like dancers.
And being dancers ourselves, we really related to them
and were impressed by them enormously.
[DeLuca] They always help us test the waters
before the actors dive in, you know, which is very helpful.
[Marshall] This was the last day of shooting, that, up on the mast.
We had the mast set for our last day of shooting.
That moment for me, I'll never forget when Johnny says,
"Fight to the bitter end" and he swings on that rope.
I said, "OK, we're making a pirate movie."
- That felt like such a classic moment. - [DeLuca] It's very Captain Blood.
[Marshall] And that's what's great about this film,
and something that was important to me as we were starting it,
I really wanted to make sure it was a classic adventure
that families could come to, um...
...and, you know... not just be for, sort of, one specific group of people.
I wanted it to be something that the entire family could enjoy,
'cause it really has its, um...
...the history of those great pirate films of the past.
[DeLuca] Wonderful entrance here for our Blackbeard.
[Marshall chuckles] It was worth giving him this
because what a great actor, Ian McShane.
And, once again, um, when we were casting this,
we sat down with a book of actors. Um...
It was Jerry and Johnny, myself, John.
We were sitting there, we were flipping through the, um...
...all the pictures,
and, uh, everybody stopped when we got to Ian McShane.
We said, "That's it, isn't it?"
It was just obvious, you know. You hope that actors claim their roles
and that's exactly what happened here, you know.
He is such a great actor, but he just was Blackbeard.
Everything about him, his face, his... his great acting skills, of course,
but also how he always attacks a role from another angle,
you know, with humor, and not always straight on.
Aye. Mutiny.
[DeLuca] That smoking beard was a nice touch.
It's subtle here, but he would do that.
The lore is that the actual Blackbeard would rig his beard such
that it would smoke and people would think that it was magic.
He wanted to intimidate people. He didn't really want to fight them.
[Marshall] No.
This is a wonderful idea that, um... Ted and Terry came up with,
this idea of having these ropes pull all of these pirates up into the rigging...
...so that they were caught and hanging...
...for punishment for the mutiny, and, um...
This was a very complicated sequence to shoot because it's, you know...
You think how long a set-up takes, you know, and...
...and we had to not only... This was shot outside, on the ship.
[DeLuca] These are real actors doing this.
- [Marshall] Yeah. - [DeLuca] This isn't, um...
[Marshall] And we had to rig all of that.
All the rigging of the actual lines that are holding the guys,
that lived above the ship.
- It looked like a spider web. - [DeLuca] Mm-hmm.
You, their shepherd.
[Marshall] Johnny was fantastic. This is...
This is tricky, to hang upside down, can I tell you right now?
He was always game.
Every day, we'd come in and say, "Now you're gonna fall onto the ground.
Now you're gonna..." you know,
"Now you're gonna come down and hang upside-down while we shoot the..."
- "OK. Yeah, OK." - [DeLuca] "Whatever you want, Rob."
- Yep. - [Marshall] Every time.
...for the miscreant you are. A coward, no matter how many you slay.
Twice in one day, I find myself in a bewilderment.
You are not bewildered, you are afraid.
[Marshall] This whole sequence was, as you were saying before, John,
night shoots out on the water. And, um...
You know... the thing that made it, I guess, palatable to do
was really, I mean, was the fact that we were all so thrilled
to be making this pirate adventure.
This was one of the first things we filmed, um... on the ships. And...
It really... You know, you're actually on a real ship.
I mean, everywhere you look, 360, this is all real.
So, it felt very... I don't know, exciting to be there for all of us.
[DeLuca] It was inspiring for the pirate in everyone.
Everybody loves that.
[Marshall] I mean, I loved shooting on the ships, I'll tell you why.
Nobody can go back to their trailers.
Nobody, you know... Everybody's contained.
Everybody's there, working together so you can...
You know, you're working quick, much more quickly that way.
[DeLuca] I was surprised you were very invigorated
every time you were on the ship.
[Marshall] Well, because it's "All for one,"
you know, "One for all," or whatever. I mean, everybody's there together.
[DeLuca] It is a real company feel, with everyone,
the crew as well, not just the actors.
And those night shoots are hard for everyone, everyone.
[Marshall] When we were working on the script, it was important to find a...
...you know, a single element that you could point to
that would make Blackbeard the most evil of all... of all pirates.
And, um... I think what he does here,
the torture that he's about to conduct on the cook
is very similar to something Captain Bligh does in Mutiny on the Bounty,
when he whips a dead man, the man is whipped to death,
and then he's still dead and he continues to whip him.
And it's that kind of brutal heartlessness, um...
...that we were looking for with Blackbeard here.
And that's why this horrific thing that he's about to do
was, um... was something that we wanted to make sure happened in this movie,
to sort of really illustrate how black-hearted he is.
This is all shot in Oahu, that's where we did all of our ship work,
and we're really out there.
Course made!
Stop. Give that man a chance. Give yourself a...
[Marshall] Now here, you'll see an underwater shot of the boat.
We had some fantastic underwater photography done throughout.
There's a huge sequence coming up with the mermaids,
where there's an enormous amount of underwater work, but we had the best.
I mean, there are many times during the filming of this
where I was overwhelmed by the scale of what we were doing.
And, um, I think the challenge for me, a lot of the time, was to make sure that
with that huge scale, that the story didn't get lost,
and the work didn't get lost, and that the narrative of the piece came through.
I really wanted to make sure that this was a clear story,
a clear narrative, so that people could get on board
and... and engage in every moment of this.
This is a great moment for Johnny there, right there, for Jack Sparrow.
We decided, Johnny and I,
that was the moment where he said
he felt deep in his heart that he must kill this man,
he must kill Blackbeard, and that's what that moment was for Jack.
...you may drop me off anywhere you like.
That'll be all, Quartermaster.
[Marshall] Blackbeard's cabin was an incredible set to be on, I have to say,
because it had, it was pretty... the detail was extraordinary.
You see all of the, sort of, black magic around. Um...
The dustiness, the dishevelment of it, all of it, it was very, um...
...it was really murky.
And that incredible stained glass window,
I'm not sure if you're aware of it,
but it's on the back of the ship, this stained glass window,
and it goes for three stories.
And it's a stained glass window of hell,
so you see all the skeletons and all the victims and all the fire,
on that incredible stained glass window.
...but I'd be tempted to cheat it.
I will reach the Fountain. You will lead me.
[DeLuca] We just came from that scene where Hans Zimmer's script...
...his score is just so... so perfect for this scene.
[Marshall] He really is an amazing composer.
I mean, we... we loved working with him.
He used to say all the time, "How can I help?"
And it was always about "How can I help tell the story?"
I mean, that's where he comes from.
And, um... he took a long time
finding the Blackbeard theme, which is what you heard
on Blackbeard's entrance and all throughout here.
He wanted something incredibly powerful, incredibly evil, incredibly dark.
He and his team just go to work
and keep... keep, um, finding their way
until they find the perfect thematic sound.
And what's a luxury, too, is that it's all done, um...
...with synth orchestrations, so you can hear what it's going to sound like
before they actually record it with real...
- [DeLuca] A template for us to hear it. - [Marshall] Yeah.
So you can actually say...
You know, for us, which because we come from music,
we can say things like, "Can you cut the brass in half?
Can there be more percussion?" John and I are very specific with our notes.
As is Jerry, by the way, Jerry Bruckheimer,
with his notes about music.
They can do that kind of detailed work,
long before they're in the recording studio,
so that you're not making changes in the recording studio.
You will lead us to the Fountain. Yes?
[Blackbeard] Put another way.
[Marshall] I think there's always been in these pirate films,
which I thought was really fun to sort of continue...
...um, is to keep sort of the black magic alive in many ways.
You know, there's a whole nother world,
because you can create your own fantasy world.
I mean, you see a lot of it's rooted in true reality,
but there's also the sense of fantasy that lives,
and that's what the, sort of, voodoo doll does.
Shut your trap and make way.
[sighs]
- That's the way of it, then. - No disrespect, sir.
[Marshall] I think this is the first time that we really realize
that everybody's heading to the Mermaid Cove, which is Whitecap Bay,
and, um... [clearing throat] I think it's the centerpiece of the film,
and so it was always great to have that, knowing that we were heading there.
The movie's told in, actually, in a very clean way, almost in three acts.
The first act all takes place in London, the second act all takes place
here on the seas, and the third act takes place in the jungle,
on the trek to the Fountain of Youth.
What's interesting about this second act
is that we are on two different ships, so it felt very fresh for everybody
because, as we know, Barbossa has now joined King George.
He's now working for the Crown as a privateer.
So this was a whole different kind of ship, um...
...and for Barbossa, specifically.
And, um...
...and then, of course, we have the Queen Anne's Revenge, Blackbeard's ship.
[DeLuca] Everyone has their very distinct reasons
for wanting to get to this fountain.
[Marshall] Yes. And they're not all revealed.
At this point of the movie, we don't know why everybody wants to get there,
but I like the simplicity of the narrative in that way,
that it's a race for the Fountain of Youth.
I think that's, that's something that is actually really helpful
with the sort of... inertia of the piece.
[DeLuca] Then the three different specific factions...
- [Marshall] I think it's in a... yes... - [DeLuca] ...converging upon.
[Marshall] Exactly. In a classic adventure,
I think it's important to have that kind of narrative.
Of course, there are lots of twists and turns,
but it's good to have a really strong spine.
What a beautiful ship to shoot.
This was a really fun sequence to create.
- [DeLuca chuckling] - [Marshall] John, um...
I'll speak about you for a moment, John,
a wonderful choreographer, as we know,
in addition to being executive producer, choreographed this sequence.
And, um, it's interesting with movies...
They tell you, as you're putting them together,
how much of a certain scene you need, and how much you don't, and so forth.
There was a very long, involved dance, which was beautifully created,
and beautifully done, by Johnny Depp and Penélope.
Of course, they both move so beautifully.
And, um, we found ourselves shortening it and tightening it,
- because of where we were in this... - [DeLuca] You can be honest, we cut it!
[both laughing]
[Marshall] No, we just cut it down a little bit. We really...
[DeLuca] No, I understand.
[Marshall] We trimmed it only because...
- Listen. - [DeLuca] I learned that from you,
years ago in theater, that you cut...
- It's for the whole. - [Marshall] Yeah.
[DeLuca] If the number doesn't work, cut it.
As great as it can be, it doesn't matter.
[Marshall] I mean, at a certain point, a movie tells you, a film tells you.
And this was so much fun, and they were so great together.
But we just sort of simplified it 'cause we needed to get to the information,
which is, "Tell me the rules of the Fountain of Youth. How does it work?"
- [DeLuca] Story always wins out. - [Marshall] Story wins.
And as a director-choreographer myself,
I always have battled... on Chicago, um, on Nine,
always, how much story do you need,
how much dance, how much singing, et cetera. But...
[DeLuca] And your theater projects as well.
[Marshall] On stage as well.
And I find that what has to always win, obviously, is story, as we know.
It's just how it works, 'cause that's what you...
When you come to the theater, you want all the bells and whistles,
especially in a movie like this, you want the excitement and the adventure,
- and all of that. - [DeLuca] It's a ride.
[Marshall] It's a real ride, and we wanted to make it a ride,
very specifically a ride.
But you also want to be told a great story.
You want it, and I think... that gets lost a lot of the time
in, um... in movies, where you're just completely lost
and you're spending all your energies trying to figure out what's going on,
as opposed to being engaged and taking the ride.
[DeLuca] I was nervous here in a sense that, not so much cutting the number,
but they worked so hard on it and were so happy
with their work, I think.
I was happy that they weren't disappointed when they saw the film
- and saw it, you know, taken away. - [Marshall] Right.
I think they know. They've been around enough, Penélope and Johnny,
to know that it's about making the movie work first, and then...
This... I mean, we have to talk about our CG artists here
because they... I mean, it's extraordinary.
These bottles, obviously, when we shot them, were completely empty,
and they created these amazing ships inside.
Especially here, the Black Pearl, which...
It's extraordinary what they do.
We were always flabbergasted by the work.
And what's interesting, it doesn't just come and then it's done.
You look at it, you give notes, it goes back.
Then they work on it more, and then you work on it, and you keep...
[DeLuca] I was surprised by it, 'cause this is the most ambitious, obviously,
CGI-wise, of any movie we've done with the effects.
- [Marshall] Right. - [DeLuca] And it is a real process.
[Marshall] Yeah, I mean, it's...
You know, this was a very quick post, very rushed post,
so we needed so many artists working at the same time,
a lot of different houses working at the same time to get us there.
And, um... we were really impressed by the dedication
and the amount of artistry and how quickly they could turn things around.
We were working up to the very last minute to make things as good as we can.
But, for me, it's... You have to...
It's a big process, you know, and you...
It's so fragile in many ways,
because you start with just an idea, which turns into a script,
and then you're casting it and designing it and so forth.
Then you're filming it, of course, and then in post,
you're doing all the work on the sound, the score,
the amazing CG work you have to do, color work.
We had to do color for both 2-D and 3-D.
- It was... an amazing amount of work. - [DeLuca] A very extensive process.
He cannot be saved.
[DeLuca] This scene, I can't believe we got it.
This was... They were laughing like little kids in church.
- [Marshall] I think it was because... - [DeLuca] You, too.
[Marshall] Me, too. Well, they make me laugh.
I mean, the truth is Penélope, um...
- ...was pregnant. - [DeLuca] Getting bigger by the day.
[Marshall] So we had to be careful, and this was one where she was big
and we were careful about how we shot it,
and we were laughing about it a lot.
Well, here we are.
[exhaling] This is... [chuckles] the beginning of the mermaid sequence,
which is probably the longest sequence in the piece,
and this was shot at Universal Studios in California.
We replicated an actual cove... in Hawaii called Halona Cove,
which is a very famous cove for filmgoers
because it's where From Here to Eternity was shot,
that great sequence on the beach
with Deborah Kerr and Burt Lancaster, rolling in the sand.
And so we were thrilled to be there.
In fact, the scene that follows this, um... in the rain,
is actually on that beach, in the real location.
Because this whole, um, sequence was so complicated and dangerous,
because, you'll see in a moment, we're in the water a lot
and it's a big battle, um,
we needed to protect the actors, and protect ourselves,
and not shoot it in the real surf, in the real water.
[DeLuca] And protect our set, it would've eaten the pier away.
The waves and then the tide was just too...
[Marshall] Yeah, it would've been much too complicated,
much too complicated to film on the real location,
so we re-created an entire cove from Hawaii at Universal Studios,
and, um... in their amazing outdoor tank, and...
[DeLuca] Which was great. We could rehearse with the mermaids.
It really lent itself...
[Marshall] It was the only way we could've done it.
This was three weeks of night shoots, straight.
And I'll never forget stepping onto this set for the first time.
I had never seen anything like it in my life,
with the lighthouse and all the rocks and all the sand,
and the water and the wave machines to create waves.
I mean, we were... I thought, "This is moviemaking at its finest,"
and how lucky we were to be able to be part of that.
[DeLuca] And it's tricky, 'cause you decide these things.
You're there with your set designer and everyone else, mapping out
how high the tide should be... and just, in a sense, guessing.
- You don't know. - [Marshall] No, I mean, the truth is,
it's all being created. It's not like you're following a blueprint.
You know, our dear friend, Anthony Minghella, um...
...our collaborator and wonderful man, who has since passed, taught us so much.
And he once said to me, and you, I think, he said,
- "You're hired for your taste." - [DeLuca] Yeah.
[Marshall] And that's what you bring. I mean, you bring your sensibility,
and... so you have to go with your gut, and what you're feeling about something.
♪ I disdain all glittering gold
[all] ♪ There is nothing can console me
[Marshall] Now we're about to meet our first mermaid,
and I have to say something.
You know, one of my favorite things about the script when I first read it...
...um... was the whole idea of how the mermaids exist in this world.
Because, the fact that...
...you clarify for, really, the first time,
why a mermaid is half female and half animal,
or... or however that works, is specifically because of the waterline.
And that's what I loved that Terry and Ted created here.
Here's Gemma. Gemma Ward, who's a magnificent actress
and beautiful woman, playing our mermaid.
And having the waterline determine where she turns creature,
and that when she submerges, she becomes more creature-like,
and as she comes out of the water, the waterline determines where she's human.
It's just... It was such a wonderful idea.
But the whole different take on the mermaids,
that they are actually creatures that pull sailors... sailors or pirates
to the bottom of the seas to eat them, um...
...was such a great, wonderful, new, fresh idea. And...
And I loved the whole seduction of it, obviously.
They are sirens of the sea, which is the classic lore. Right?
[DeLuca] Tempting the sailors to the rocks, to their doom.
[Marshall] Exactly. And they can't help themselves.
As you see here, Scrum... knows all the stories,
knows that the mermaids are deadly and knows that they kill pirates,
kill sailors, but he is so infatuated.
You know, these guys haven't seen a woman for how long, and they're...
She's so beautiful he can't... he can't stay away,
and he wants to kiss her so bad, and she's seducing him.
And then, of course, brings her friends. And here they come.
[DeLuca] That's really Gemma's voice.
- Gemma's really singing there. - [Marshall] Yeah.
[DeLuca] She wasn't a singer before this.
We liked her natural sound.
[Marshall] And these are some great actresses from all over the world.
We really wanted an international...
It's very much an international film, I think.
And, um, here we have some beauties from all over the world
playing our seductive mermaids.
This is Jorgelina, she's from Argentina.
[DeLuca] Mm-hmm.
♪ But my jolly sailor bold
♪ My heart is pierced by Cupid
[Marshall] And you see the waterline determines
where they become creatures here.
It's just... I love the calm before the storm.
It's one of the great, um...
[DeLuca] Great drumroll.
[Marshall] Yeah. Seduction for this whole piece.
And here comes the change.
She becomes more creature as she submerges.
And that's the animal part of her.
And here we go, and this begins it right now.
I mean, this score by Hans gave us
such an incredible, uh... I mean, really exciting...
[DeLuca] He was that final element
that just sent it up to where we needed it.
[Marshall] He just knew... I remember he wanted to make it ugly.
He said, "Make it ugly." They were scratching those violins.
Um... This is a combination of stuntwomen,
synchronized swimmers, Olympic synchronized swimmers,
that we had on this... plus, um, actors as well.
So it was a combination of so many different people,
all these bits and pieces, plus, of course, CG work.
[men screaming]
[DeLuca] Rob really wanted this not to dive into the cartoon,
which was the easy way to go, and it was painstakingly difficult work
to make it look as real as we could, and I remember you just wouldn't let up.
[Marshall] Yeah, it was really important.
[DeLuca] I was happy that you'd kept on.
[Marshall] ILM, the great ILM company that helped us put this together,
and created this and drew this, the artists are...
...are really the finest in the world. And, um...
There was an enormous amount of work to do,
but to me it's all... it's all in the detail.
[DeLuca] To me, the cliffs were scary, when we worked on the cliffs in Hawaii.
But this was, to me, the most dangerous, in the water with the actors.
Because these actors are really going down, being pulled under.
- [Marshall] Yes. - [DeLuca] And two of the actors,
specifically, had a very hard time.
They were great swimmers and it just was very, very...
- It was dangerous work. - [Marshall] It was. It was.
And Charlie Gibson, um, who was our supervisor,
um... in terms of all the CG work,
and also second unit director, along with George Marshall Ruge, um...
...really helped navigate a lot of this.
- [DeLuca] Another calm. - [Marshall] Yeah.
I see people jump out of their seats right about there.
- When they start getting pulled out. - [DeLuca chuckles]
[Marshall] This was an idea to add an additional element to the mermaids,
that they also could throw these seaweed whips
that could sort of attach themselves onto a sailor and pull them in as well,
so they could do it from far away. And that's what all this was.
But those are all stunt actors that are being pulled by, you know...
Ratcheted by lines and things into the water.
I mean, we could never have done this as you see it, John, ever,
in the real surf. It would've... We would've lost people.
- [DeLuca] It would've been suicide. - [Marshall] That's not...
- That's not how it works. - [shrieks of approaching mermaids]
[Marshall] This pier... I'll never forget
when they showed us how it could fall, we were knocked out.
We couldn't believe that you could see a pier completely break.
And then we could set it back up again minutes later to do it again.
[DeLuca] Again, we wanted to create these mermaids.
We wanted to give them a sound, we wanted to give them a physicalization.
It was always a little bit different than the human.
[Marshall] Right.
And, you know, our sound design helped enormously with this sequence,
with our great sound designers because, you know, that's...
If you turn off the picture and you listen to it, it's amazing.
You hear... It's an incredible mixture of effects plus music
plus the sounds of the mermaids, dialogue, et cetera,
all woven into one piece.
This shows you how physical Sam Claflin is. I mean, you know...
- [DeLuca] He did all this. - [Marshall] All of this himself.
I mean, he's... You know, he was, uh...
If he wanted to be, he could be a stuntman in five seconds.
He just has those skills. He's a footballer in England,
and, um, that athletic ability really showed all the time.
[faint screaming, shrieking]
[Marshall] The idea, obviously, here is to, you know...
Jack is, like, desperate and he's trying to, obviously, blow up this lighthouse
just to get rid of these mermaids.
- Like a last-ditch attempt to... - [DeLuca] Scare them off.
[Marshall] ...to scare them off and send them back to the ocean.
- [DeLuca] And this is Sam falling. - [Marshall] Yeah. Oh, yeah.
Every time. That's what I mean. It's extraordinary.
[DeLuca] I've seen that 500 times, and I still...
- [Marshall] Mm-hmm. - [DeLuca] ...cringe.
[Marshall] And it works.
[DeLuca] There they go.
We got one!
[Marshall] There's hilarious...
[chuckling] ...Stephen.
Loved every second working with him.
So creative, so funny.
[groans]
[DeLuca] Here we go, introducing our...
- ...final main character. - [Marshall] Yeah.
[DeLuca] Syrena, our mermaid.
[Marshall] And this is played by a wonderful actress,
Astrid Bergès-Frisbey.
And, um... French actress who's also, uh, Spanish...
...but we cast her out of Paris.
- Should I tell the story, John? - [DeLuca] Yes, it's a great story.
[Marshall] I was, um... I was in an airport lounge,
and I was flipping through a film magazine in Paris.
And it was a French film magazine. I couldn't read it at all,
understand maybe a couple of words here and there.
But flipping through and saw there was a section on young actresses in France.
And we were... At that point, we were casting, or soon to cast, the mermaid.
And, um...
...flipping through, saw this beautiful picture of this woman, Astrid.
I ripped it out, put it in my pocket.
When I got back, gave it to our great casting director, Francine Maisler,
and I asked her if she could find this woman.
[DeLuca] You just dropped it on the desk and said, "Find her."
[Marshall] Yeah. And I said, you know,
"Does she speak English? Can she act?" You know.
And she came in and read, and it was incredible
because she has an otherworldliness to her.
She's such a beautiful woman, but she's also...
[DeLuca] And the French, the thick French accent
helped make it an otherworldly being.
[Marshall] Yes. Very much so.
[DeLuca] Here we are at the actual Halona Cove,
which Rob was speaking of, From Here to Eternity.
[Marshall] Yes, this is the actual cove that we did the replica of
for the nighttime mermaid sequence.
This is the same cove, but this is the real one.
And, uh, this is where From Here to Eternity was shot.
In fact, the actual place where they roll
is literally right over Groves's shoulder there.
- Right there. - [DeLuca] Right there.
[Marshall] That's where they are. It's an amazing thing. It's tiny.
So when you see it in real life, you can't quite... It's right there.
There it is. Where that wave's washing up on the water.
[chuckles] That would be Deborah Kerr and Burt Lancaster.
But we love movie trivia like that.
I mean, for us, that's one of the great things, and, um, to have that...
To have shot there was really great for us.
Here's nice because you get a nice, big shot of it here.
You get a full sense of it right there.
So this here was shot just down the road from Halona Cove,
this incredible place that has enormous slate rocks.
[DeLuca] This was scary. This was so slippery.
- [Marshall] Very slippery. - [DeLuca] I fell, like, ten times.
[Marshall] I think everybody was falling all over the place. I mean,
that's what's crazy about making these movies is that, a movie like this,
you know, you really are on these locations, but we're all there.
And people are falling all over the place, and...
[DeLuca] You see the guy standing up on the rock back there.
It's straight down. It's straight down. I went up there.
[Marshall] I think this is one of the most beautiful helicopter shots
- in the piece. - [DeLuca] Yeah...
[Marshall] And what's amazing is that
there is actually a parking lot right where the line of the jungle begins.
And that's, of course, all gone, and now all this jungle is added through CGI.
And, um... to create this enormous jungle
which is where they're heading into for the final act of the piece. And, um...
This was an incredible location. This was in Kauai,
which is where all the jungle work was done.
And this is in the same jungles where they shot Indiana Jones
and shot Jurassic Park.
Um... I mean, and you see why. The scale is incredible.
But that tree that the guys are going under there, that was there.
I mean, we found this, and you know, you work with what's there.
The one thing we did do here, was we did... So they could walk through this,
'cause it's very deep, actually, the water is over your head here,
we put platforming in the water. But, um, location scouting this was amazing.
This was a very treacherous location. Do you remember, John?
- This is where... - [DeLuca] So slippery.
[Marshall] This is where I almost fell off a cliff here
when I was talking to Penélope and Johnny.
[DeLuca] Had to hold onto a vine. Yeah.
[Marshall] I fell and grabbed a vine and...
- [DeLuca] Very scary. - [Marshall] Thank God for that vine.
[chuckles]
[DeLuca] 'Cause you concentrate on something else.
[Marshall] Yeah, you forget that you're actually in the jungles,
these really tropical and wild jungles.
[DeLuca] And, you know, where there's rock and water, it's just slippery.
- It's just everyone, falling. - [Marshall] Yeah.
Look at Astrid. I have to say she's in there, holding her breath.
[DeLuca] That is the actress there.
[Marshall] We said she would give us a thumbs-up,
and she would hold her breath throughout the scene.
I mean, it was pretty amazing what she could do.
- [DeLuca] And keep her eyes open. - [Marshall] We were so lucky.
I had no clue that she actually was good in water.
Did not have a sense of that.
[DeLuca] Well, she trained hard to do it, too.
- [Marshall] Yeah. - [DeLuca] She would practice coming up
out of the water with her eyes open
and descending with the eyes open and not blinking, which is really hard.
[Marshall] Yeah.
- Open this. - She will escape.
[Marshall] What's nice about...
I think this sort of begins the relationship, in a way,
between, um, Philip and Syrena.
And, uh, it's nice 'cause it's, you know...
I think it's dangerous with these kinds of stories to make...
They can go one way or the other. And it was really important to us
to keep this sort of as simple and as real as possible between them.
And, uh... Because it can become saccharine within a minute,
but I think they're such fine actors, you really can see that work.
I mean, I think the one thing that we really focused on in this film
was the acting work, um, in addition to everything else.
But, you know...
[DeLuca] Important to keep everyone grounded.
[Marshall] I like stepping out in front of a camera.
I mean, my joy is working with actors,
and I wanted to make sure that there was great acting work.
And that became a focus.
Not just all the... You know, the production.
This is on... This was actually shot in Kauai as well,
on someone's personal ranch. They had this amazing gorge,
and, uh, there we were.
Sparrow will go. Find the ship, retrieve the chalices.
Sparrow? What makes you think he will come back?
[Marshall chuckles] Johnny's so funny. So funny.
He always looks for the humor, and he's always carving, you know,
away at a scene to find the best way to say it.
He's always working. And, um...
[DeLuca] He loves language, as we said before.
[Marshall] But what's nice... Yeah, he loves language.
But you see what's great is he's not playing the buffoon.
There's a combination here of irreverent pirate humor,
but also there's a person there, too, which is what, you know...
And because he has such a big heart, as an actor, you feel that.
Uh... You feel that in every character he plays,
but in this character, you feel it.
You know that feeling you get sometimes when you're standing in a high place?
Sudden urge to jump?
[Marshall chuckles] One of the funniest lines.
I don't have it.
- [gun cocks] - I need those chalices.
Shoot. Save me the bother of the fall.
You will go. You will return...
...or I will kill her.
[Marshall] This was great because this whole sequence here
is a real scene, a full scene, you know? And it's not just a quick scene.
This is a scene where there's lots of things playing at one time. Um...
Who's trusting who? She is the daughter of Blackbeard, we believe at this point.
So, um, would he really shoot his daughter?
You know... Jack, would he protect Angelica?
I mean, it's all... This sort of interesting triangle
- really comes to a point here. - [DeLuca] Yes. Would he let her jump?
- Would he, actually? - [Marshall] Mm-hmm.
Who's lying?
[gun clicks]
[Marshall] This is a perfect example.
At the top of this gorge, all of that greenery was not there.
All of this greenery, all this jungle was brought in
because it was bald up there. It was just rock.
So John Myhre and his team brought in all of this greenery
so it'd feel like a jungle.
[DeLuca] And we'd say, "A little more there,
a little more here, a little more there."
[Marshall] We kept moving these plants around. Yeah.
...then she will have her chance.
[DeLuca] And John always getting the dirtiest.
[Marshall] Yeah.
I think it's important to mention Penny Rose here, too,
our great costume designer.
She was fantastic because she was looking for...
You know, obviously, she had Jack Sparrow
and had established that with the previous films.
She's the costume designer from the previous films.
But she found looks for the zombies, and I think she had great fun
finding a look for Angelica.
She really wanted to give her her own specific look.
There's a little Spanish flavor to it.
I think one of the saviors for us, by the way, was her black corset.
Because, as Penélope got bigger, it used to have sort of like, um...
I guess there was lace up the back, but then she made it elastic
so Penélope could grow with it.
[gasps]
[Marshall] What's interesting about filmmaking
is you're always in different locations.
Where he jumps is not where he... Is not where the scene takes place.
The actual jumping off the cliff was in another place,
um, that had an actual waterfall.
Where the scene took place, it did not have a waterfall.
Of course, my love.
- [DeLuca] Sometimes that's sad to know. - [Marshall] I know.
[DeLuca] In films. But it's...
[Marshall] First day of filming here. Actually, second day.
The first day of filming is coming up.
[DeLuca] But the first day of filming we could actually get to
- without a helicopter. - [Marshall chuckles] Right, exactly.
I mean, the first day of filming was a very specific day
'cause it was just with Johnny Depp,
and I'll explain that in a minute when we get there.
But here, um, was our second day of shooting, and, um...
...first day with Geoffrey and Kevin and Greg and Damian.
What? What be wrong with an older man having a hobby?
[Marshall] This is a wonderful place called the Buddha path.
It was shot in Kauai in the botanical gardens there,
and it's called the Buddha path. Filled with smoke.
Done at, um... sort of a dusk.
This was the first day of filming. [chuckling]
This was on this amazing location,
and I have to say one thing about this moment that's just about to happen here.
That's real, and I felt so bad on the first day of filming.
We never tested, um...
[DeLuca] Rob just said, "Run out there."
[Marshall] Yeah, "Run from here and run towards the beach."
And that was it. But no one had done it. No one had run it at all to see.
And he fell right in that hole.
But, you know, Johnny is such a genius that he got up
and started to smack the hole with his sword, like he was mad at it.
[DeLuca] Vengefully getting back at the hole.
[Marshall] But this location here with that amazing natural arch
was our first day of location and first day of filming on this amazing location,
and it's at the Na Pali Coast in, um, Kauai.
And you couldn't get there... There was no road that gets there.
You either got there by helicopter, or you actually had to take a boat there.
But the boat couldn't land on the shore. It was too dangerous.
So you either had to swim to shore or take a Jet Ski. And, uh... [chuckles]
People were swimming to shore. I mean, I took a Jet Ski...
[DeLuca] Very memorable.
[Marshall] As I entered the first day of filming, I thought,
"Well, this is... That's quite a beginning."
[DeLuca] Now this... There's the transformation that Rob was speaking of.
So when there is no water, even on her tail,
- it does become human form. - [Marshall] Mm-hmm.
[DeLuca] Their tails are their most...
We decided that the tails were the power of these women, of these mermaids.
And then when they went to land, this is a very vulnerable position,
'cause the legs aren't their strong... When the legs do appear,
it's not something... 'Cause mostly their tails are in water.
[Marshall] Right.
[DeLuca] So she's like a young fawn here, not able to...
To get her, you know...
[Marshall] This was also shot in the botanical gardens in Kauai.
I do not ask for help.
[Marshall] What I could never believe was the lushness of everything
and the scale. The size of the greenery and, you know...
It was astonishing.
So natural. Kauai's such a beautiful island because it's completely, um...
...in many places, untouched, like here.
I mean, look at the light.
This is Hawaii. You see those amazing mountains.
And these fig trees here, these roots, for instance, are just unbelievable.
I mean, you see them in real life, you can't believe the scale,
the scale of these things. You know?
[DeLuca] Yeah, I felt like a little kid on these sets.
- [Marshall] You do. - [DeLuca] These locations, actually.
[Marshall] You really do.
This is a perfect example of how these two actors were able to make
these kinds of scenes work between them.
So natural... and so simply done.
- Such beauty... - [Marshall] With great truth.
...and yet deadly.
- Deadly? No. - You attacked me.
No.
[DeLuca] Yeah, they're both very sensitive actors and human beings.
- They're... - [Marshall] Mm-hmm.
And beautiful. [chuckles]
- [DeLuca] Doesn't hurt, either. Yeah. - [Marshall] Yeah.
[mutters] Did you...?
You pushed me down out of the way.
[Marshall] I mean, look at the size of those trunks of the trees, John.
I mean, they're just... You know, it really...
When we were there, it was something else.
Magical, actually. Really magical.
Pray tell.
[Marshall] This is where he names her.
You feel there's an otherworldliness, you know?
A connection between them, something.
This was also the first day of shooting. We sort of shot day for night here.
Towards the end of our day, and we did it here and, um...
And added that ship.
This great pirate ship.
Now, this was really fun to create. We were looking for something,
specifically, to use from the ride because that's where this all began,
with that amazing Pirates of the Caribbean ride,
which, for me, as a kid... When I was 15 years old,
my family took us to Disneyland,
cross-country from Pittsburgh, Pennsylvania.
And, um, I loved this ride so much 'cause I felt like I was in a movie.
If anybody had said to me then you'd be filming that movie someday,
I would've said, "You're crazy." But, um...
Anyway, there's a moment in the ride which was replicated here in this scene.
You see the skeleton in the bed, um, with the magnifying glass
who's looking at the map. That is actually in the ride.
[DeLuca] With all the jewels and the booty around him.
[Marshall] It's kind of a combination of two of the rooms.
We took the treasure room and that captain's quarters
and sort of combined them.
Um, but it really is... I think the thing that people recognize immediately
is the skeleton with the magnifying glass and the map in his hand
- and the little nightcap on his head. - [DeLuca] Right.
[Marshall] And we made that our Ponce de León here.
[DeLuca] Our little homage to the ride.
[Marshall] This set was three stories high
because all of that movement to the ship is real.
We were shooting on a gimbal, which went back and forth,
uh, left and right and forwards and backwards.
So it could go in any direction.
So, when all that stuff starts to move and fall, that's all real.
[chuckles] It's exactly what happened. Um...
You see, he knocks this over. See all this start to...
The reason all that stuff is falling and moving and crashing
is because that's what was really happening.
We were a little nervous about putting Johnny Depp and Geoffrey Rush
in this set because we didn't know what was gonna come crashing on them.
We said, "Guys, whatever happens, play it."
[DeLuca] They were game.
[Marshall] But it was something else being on this ghost ship.
[Jack] Rocks.
[DeLuca] And setting it up after a take. Setting it back up?
- [chuckling] - [Marshall] Oh, my gosh.
Our great prop master, Bernie, was there,
putting every little coin back where it was with...
You know, he has pictures of the actual...
...what it was supposed to be, and he was amazing.
The skeleton was by Joel Harlow,
who's our Oscar-winning, um, makeup designer.
And he created the skeleton with all the skin on it. And he's, uh...
- He really is an incredible artist. - [DeLuca] Created the zombies.
- He just... - [Marshall] All the zombie work,
all the makeup work in the film.
This is wonderful to have this map and be able to do this CG transition
to this, um... to this camp.
The Spanish camp.
This whole idea of the excursion between Barbossa and Jack
was actually Johnny's idea. He really loves working with Geoffrey Rush,
and he wanted them to work together instead of as enemies.
He wanted to work together, have some scene work together.
So it just started as an idea, and then we folded it into the script this way.
It was really important for us to make sure we had a really strong script,
'cause when you step into a movie like this, you know, like I said before,
you can get lost. Because you're working on such a scale
with so many moving parts to it,
that you want to make sure that you have a really strong narrative.
So it's something we really spent a lot of time with Ted and Terry
and, of course, Jerry Bruckheimer.
[hissing]
[Marshall] This was shot in Oahu, very close to a place called Turtle Bay.
Turtle Bay Resort. These amazing, um, banyan trees...
...with all these, um, incredible branches.
And this was also a night shoot.
But what's amazing is that there are no rocks there
and no pools, 'cause it's all sand.
So all of the rocks and all of these mermaid pools
were all built by John Myhre
and then Joel Harlow did all these extraordinary skeletons for us.
[DeLuca] They integrated themselves so well into this location
that people that would come to the set didn't know. Even the actors.
- "This was all... created?" - [Marshall] Yeah. They were like...
Well, I mean, what's funny is I think people just thought,
"Well, there's no real set.
- You're just filming it here." - [DeLuca] Yeah, you just found these.
- Yeah. - [Marshall] But there were no pools.
And, you know, with actors, you have to make sure that the water is clean
and it's warm, and all the things that you need it to be.
And so that's why it was all controlled. Very, very much controlled.
What's great, too, is that Darek was able to use
a lot of the real flame light to light these scenes,
which you can really feel. I mean, it's just beautifully lit...
...with great atmosphere.
Behold, gentlemen, a man formerly of faith.
That vile creature, as you call her, is worth a hundred of you.
[Marshall] I think Philip's arc in the story is important
because he's a man who actually really loses faith
because he believes that every soul can be saved.
And that's sort of why he's a missionary.
He believes that, truly, deeply.
And with Blackbeard, he sees a soul that he doesn't believe can be saved.
And I think he loses his faith and loses his... and he regains his faith
through this mysterious creature, this mermaid, who really teaches him...
...um, by example of, uh, what true faith is. I think that's...
[DeLuca] Gives him that redemptive... Yeah.
- [hisses] - Syrena, if you could manage a tear,
I would be grateful.
[Marshall] I love the simplicity of the lore here.
That you need these certain items to make the Fountain work.
- [DeLuca] These rules, yeah. - [Marshall] These rules.
And here, they need, obviously, the mermaid's tear.
And they...
Well, you'll see later, but they pretend to kill Philip here. We think he's dead.
But they pretend to kill him here to get her to cry, and she doesn't. She won't.
Ooh, aye, mermaids are tough.
[Marshall] Plus the chalices that currently, you know...
Concurrently, Barbossa and Jack are trying to get.
- You are confident? - Yes.
I am a woman. So is she.
- [DeLuca] So they have a plot too. - [Marshall] Yeah, so you see...
What's nice is you see there is something afoot here.
It's not just... There's always something underneath.
This is incredible bamboo forest shot in Kauai
that lit so beautifully at night with the smoke, as you see.
All this bamboo went on and on and on and on for, you know...
...yards and yards and yards.
- ...some manner of harm many moons ago. - Out with it.
Gibbs, this is the woman from Seville.
Ah, you pretended to love her, then you left her and broke her heart.
[Marshall] I like this part for Jack Sparrow. I think it's...
I'm really impressed with Johnny in this film because...
And what he was able to bring to Jack here
because you see so many different colors here.
You see there's a little bit of, um, feeling here, you know?
Of course he pushes it away, which he would as a pirate and as Jack Sparrow,
but Gibbs, his oldest friend, calls him on it.
And, uh, you see there he cares about Angelica.
There is a sense of a heart there.
For someone who pretends not to have that, you know, and just be selfish.
As most pirates are.
I'll take it from here on account of your condition.
[Marshall] You know, when you're filming and you're doing location work,
every once in a while something happens that works, that just works perfectly.
Here's a perfect example. The bamboo forest emptied into this water here,
and we found this little peninsula where we could place the Spanish camp.
A lot of times it doesn't sort of work like that,
but this, where they were standing, they could actually see it was all...
- We didn't have to... - [DeLuca] Continuous. Yeah.
[Marshall] It's all continuous. We could shoot it all as a continuous piece.
So this whole... All of this was shot in Kauai,
and now we're on this little peninsula.
The ruins were all built by us. And the camp, of course.
- Those palm trees were all there. - [Barbossa] That be the leader.
Make note of his tent because that's where...
[Marshall] There's The Spaniard again. We haven't seen him, really. Much.
We see glimpses of him.
We understand that the Spanish are after the Fountain of Youth too.
Your sword smells funny.
Aye. Poison from the innards of poisonous toads.
Just a scratch, you're a dead man in minutes.
Would you mind pointing it the other way?
I don't like toads.
[Marshall] We had such fun blocking these kinds of things, too.
That's the other thing. You're trying to figure out how this is gonna work
as they inch their way closer.
And you're working with what's there, you know?
"There's a palm tree there, so we'll crawl to this palm tree,
and then you'll help yourself up."
Obviously, he's crippled so he needs the help.
That's Gerard.
Wonderful actor.
I think they had a blast doing this together, too, Geoffrey and Johnny.
They really did. Because they...
You know, they never get to work together as a team.
[DeLuca] It's uncharted territory for them. It's fun.
[Marshall] It was funny.
Geoffrey Rush called it the Bob Hope, Bing Crosby sequence.
[chuckles] Which I loved. He felt that. And that's what I love about this film.
It has a classic sensibility at its core.
And I think that's why it's so embraced worldwide.
[DeLuca] Geoffrey was also really good with the sword fighting.
[Marshall] He loves it. And he's fearless about it, too.
He just dives right in.
That's a fun 3-D moment, I have to say, with those coming at you.
[DeLuca] Now we find out Philip has not been killed.
[Marshall] Now this is interesting. This is not how we shot it.
You know, when you do...
Sometimes when you do a test screening, you learn information from people.
They don't quite understand certain things.
And when we shot that, he wakes up in the ditch, and he hasn't been killed
because they sliced his chest, not his throat.
But we felt we needed to clarify even more why he was alive
'cause it looks like he's been killed.
So we had introduced the voodoo dart earlier on, um,
with Jack Sparrow.
So we came up with the idea of using the voodoo dart, again, to knock him out.
And so... To explain why he's still alive.
So we inserted that, and that was something that was done, um, later,
in postproduction.
We didn't do any reshoots on this film,
with the exception of that kind of thing. Small inserts.
Tears of sorrow, never.
Mermaids be too tough for that.
But tears of joy...
[DeLuca] It was a very rushed post, as Robby said, and...
You know, a movie like this is pressurized every day,
but I must say that Disney, the studio, was very, very supportive throughout.
- [Marshall] From the very beginning. - [DeLuca] I was very impressed.
[Marshall] Bob Iger, Rich Ross, Sean Bailey, all of them were,
you know, I think they...
I only felt support. I never felt, as the new director on board,
you know, "We did it this way, we do it this way." No.
[DeLuca] It's tricky when you have a studio
and a movie of this scale and scope,
and a release date and... you know. But they were...
[Marshall] They were...
I think they understand how filmmaking works, you know?
At the end of the day, there has to be at least a captain,
which they put in my hands, and so... And then...
- [DeLuca] And they trust and they... - [Marshall] Right.
[DeLuca] ...allow things to happen.
[Marshall] Very lucky to work with them. Enjoyed working with them immensely.
Here's to revenge.
[Marshall] Now I'd like to talk about my favorite location on this film.
It was really special to me. It's a place called Coco Palms.
It's a old hotel resort in Kauai
that was sort of, in the '50s and '60s, was the height.
That's where you stayed.
And the reason I love it so is because it's where they shot Blue Hawaii.
Where Elvis Presley shot Blue Hawaii.
It's the resort they go to in the middle of the film,
and that's where we are here. And I couldn't believe it.
I was so excited.
But the Coco Palms resort, um, in the hurricane,
I guess in the mid-90s, um, was lost,
'cause it just destroyed it completely.
And it's never come back, so it's a shell of a hotel.
- [DeLuca] Dilapidated, yeah. Ruins. - [Marshall] I mean, it's...
They had these beautiful huts, and all around the entire...
[DeLuca] Yeah, you can feel what it once was.
[Marshall] It was an amazing place.
I mean, you can still feel the grandness of it.
- [DeLuca] Yeah, you can. - [Marshall] And, but it's...
If you know Blue Hawaii, it's where Elvis Presley gets married
at the end, on the lagoon. It's all set amongst lagoons and palm trees.
So it was really special, and I remember I took Johnny.
Johnny and I sort of walked through the old hotel with a flashlight,
looking at the reception area and, you know, the...
- [DeLuca] He's a real film buff, too. - [Marshall] ...the dining room.
We loved it. We just loved it. We loved being there.
[DeLuca] Now this is a dangerous location
because those coconuts fall all the time.
- I don't think anyone got hit. - [Marshall] No, no. But it was...
- We all had hard hats on. - [DeLuca] Yeah, we did.
[Marshall] And, also, the area that we actually were doing the work in,
when we actually chose where, they went up and got rid of all the coconuts.
[DeLuca] Yeah, yeah.
- Not your right? - I need me good arm
to drive my poisoned blade through his heart.
[DeLuca] Geoffrey's wonderful monologue here.
[Marshall] Extraordinary. I mean, it was so nice to give him this moment because,
as one of our great actors, he can hold it like no one's business.
And then, of course, we have crazy Jack Sparrow's inventiveness here.
I mean, this was... This was something else to try and figure out
how we were gonna make this work,
because this idea that you can escape from palm tree to palm tree,
we had to, you know... That's a great idea on paper,
but you have to actually make it work. And so, with our stunt coordinators,
um, we tried to figure out how this could actually happen.
So this was our version of how it could. [chuckling]
- Maybe a little bit of a... - [DeLuca] Little bit of a stretch.
[Marshall chuckling] ...stretch, maybe. But I think it's inventive and smart.
I don't think I'd like to try it myself, but...
- But I think it's fun for Jack Sparrow. - [DeLuca] Yeah, don't do this at home.
[Marshall] It's James Bond, you know?
He's kind of, in an odd way, our James Bond of the seas.
- [DeLuca] Yeah. - [Marshall] An 18th century James Bond.
[DeLuca] You can't forget that they're at the top of their games.
They're really good.
[Marshall] Yeah, they're great pirates.
- [DeLuca] Jack is a great pirate. - [Marshall] It's true.
[DeLuca] And James Bond is a great super-sleuth.
[Marshall] Now, all of this was shot for real, um, but not here.
We actually did all the tops of these trees, um, in Los Angeles,
out at Long Beach. We needed to control it.
So we had half the trees to do all the tops of the trees,
but otherwise, it's all real. As was this jump, by the way.
He's escaping! Fan out! Find him!
[Marshall] And here's a perfect example
of some really smart and really creative work by Hans Zimmer.
He took these wonderful guitar... this wonderful guitar duo, right?
- I guess, John, you would call them. - [DeLuca] Uh-huh. Yeah.
[Marshall] Rodrigo and Gabriela.
And, uh, extraordinary musicians, and really gave them this whole set piece.
You can hear the wonderful guitar work. It's really extraordinary.
[DeLuca] Gives it a beautiful layer. It's...
[men yelling]
[Marshall chuckles] But this was all shot in Coco Palms. All of this.
With John. Once again, another night shoot.
[DeLuca] Mm-hmm.
[Marshall] And what was nice was Hans
didn't throw the baby out with the bathwater.
The Jack Sparrow themes that have been, um...
...established in the earlier films come through here.
But, for instance, that was a version of it,
but played completely differently with guitar.
- Shall we have a drink? - We'll drink at the Fountain.
[Marshall] Now we finish
our long night sequence, and now we're into day,
- and it's such a nice change of pace. - [DeLuca] Mmm.
[Marshall] And here, um, that's a great 3-D moment, I have to say.
Anytime you have foreground like that and you're moving through,
you really get a sense of the depth.
This was shot in Oahu.
How is it we can never meet without you pointing something at me?
[Marshall] Very close to where we did the night work on the ship.
This... We found that here.
[DeLuca] I remember auditioning these...
- [Marshall chuckles] The boar? - [DeLuca] ...boars. Yeah.
[Marshall] This was a sweet one. What a sweet boar. [chuckles] Such a...
Such a... I remember hearing him squealing away. We just...
[laughs] I give a lot of credit to Kevin McNally holding him there,
'cause he was heavy.
And Kevin had to, like, train him and feed him and hold him.
This is a classic Jack Sparrow scene.
Funny, smart, clever, irreverent.
- [DeLuca] And he gets what he needs. - [Marshall] Yeah. Always.
I will be having me compass back.
Please? I do deserve it.
Do you have any idea how difficult it was to catch...
[Marshall] It's fun to watch Stephen Graham behind Blackbeard.
I don't know if you see him.
He's always laughing at Jack Sparrow because he loves his wit.
[DeLuca] Stephen always had his own unique response to things.
- [Marshall] Always. - [DeLuca] His own interesting take
on what was going on.
[Marshall] You always cut to him, because he's so, so, so, so good.
Left him to rot in jail, I did. Didn't care.
[Marshall] See him?
[both laughing]
You must let him go free.
[Marshall] I mean, a perfect example of how Johnny always contributes...
That hilarious line he just said about the boar.
He said, "Not the big one, the little one."
- [DeLuca] That's Johnny, yeah. - [Marshall] That's Johnny.
Always looking to find something funny.
And just so smart about writing. He's a real writer.
This will lead you to freedom, mate.
[Marshall] This crane shot. I look and I think, I remember how complicated it is
to do it without shaking the camera, you know, that kind of thing,
'cause you're in real locations.
This was great to shoot in 3-D because, once again, you really feel
the depth and the layering with the foreground of the leaves.
[DeLuca] Here we go with our magic water bead.
[Marshall] I think what happens is, you know...
What was nice with this whole idea is that you realize
that something's different with this, where they are now.
They are now in a sort of, somewhat a magical place. Um...
Something unique with the actual water.
The water in this area is not...
...not normal.
And, of course, this is where he discovers the X.
And we realize what the X is, it's just a natural formation in this rock face.
And that's where Ponce de León had found the Fountain of Youth.
It's the entrance to the Fountain of Youth.
This is an amazing location in Kauai.
It's called the Blue Cave.
And what an incredible location, also one of our favorite locations.
At a certain time during the day when the sun hits the cave,
it hits the water and the whole cave turns blue.
And I was in there in a kayak, sort of moving through,
and you can go to the edge and then if you actually jump out and swim under,
you can actually find other caves. It's an incredible place to be.
And very holy. We actually had it blessed by natives before we shot there.
This cave, um, this whole sequence here was built.
And this is all at Pinewood Studios.
What's so great is that John Myhre, you know, always finds a way
of making it seamless.
So the rock that we've established, and the feeling of the cave,
is continued here.
Jack, I'm starting to think you don't know where you're going.
It is not the destination so much as the journey, they say.
Chalices, if you please.
[Marshall] This is a fantastic scene for Johnny,
'cause it's the height of, you know... [chuckling]
[DeLuca] The pressure's on, you know.
[Marshall] Yes, but what's so funny about it
is that he's completely bullshitting the whole time.
[chalices clinking, tone echoing]
[Marshall laughs] It's so funny. I mean, that's what's so great about Johnny.
He is just such a great clown, in addition to being a great actor.
And great with Penélope here, too.
I'm sorry, could you repeat the question, please?
Quartermaster.
- [gun cocking] - No, no!
[firing, bullet ricocheting]
[Marshall] Remember when we were debating how to enter the Fountain.
There were so many different versions of it, sketches.
You have no idea how many artists tried their hand
at not only what this entrance should look like or how we should
get into the Fountain, but what the actual Fountain would look like.
We must've gone through, I don't know, John, hundreds of different looks.
And we settled on the idea that this water would create a vortex, really,
an entrance that would climb up the walls,
as we've already discovered the fact, obviously, that the water
moves in not the normal direction.
And so the fact that this creates, uh, sort of a,
I guess, a pond on the ceiling,
a lake on the ceiling, um... was our entrance.
Master Scrum...
- ...do you mind? - Squire?
[Marshall] To tie in to the previous Pirates,
the Aqua de Vida symbol had been on the map,
and that's actually what helped us with the Aqua de Vida here, taking it.
It's important to connect, also be very new and fresh,
as this movie is with all new characters,
but also make sure that there's some connection to where it's come from.
And so this design of the Fountain
went through so many different things. Um...
And, ultimately, we ended up with a simple circle.
It seems like it makes such perfect sense,
and you see sort of the ruins of some kind of city that must've been there.
Some kind of... I don't know, what would you say, John?
- [DeLuca] Mayan temple? - [Marshall] Temple of some kind.
I think we decided to sort of make it a temple of different, uh...
It's Chinese and Mayan and also, I think, Egyptian.
[DeLuca] Like it had gone through many different changes throughout the years.
[Marshall] But we wanted the central Fountain to be natural.
Um, and we liked the simplicity of the circle of life.
- And the... - [DeLuca] The single drip.
[Marshall] And we wanted it all to come from a single drip.
A tiny drip, which is where the Fountain...
[DeLuca] And from that source... changes the course of the water.
[Marshall] Right, exactly.
[DeLuca] Because of where it is, you know,
all the elements converge here perfectly.
[Marshall] Right. And these are all...
The skeletons obviously represent the people
that have tried to make it there, or have lost their life, um...
- [DeLuca] In attempt. - [Marshall] Right.
To get to the Fountain. And the... I mean, what's...
What's beautiful is the simplicity of just the single drip of water
is the Fountain.
The one-legged man.
[Marshall] A little piece of the supernatural coming in here, too,
with the one-legged man, prophesized.
For crimes committed on the high seas,
by the authority granted me...
[Marshall] We had, uh, a very complicated and complex way into this
with all the hydraulic lifts.
The only way to get into the Fountain here was, um...
...was with three separate hydraulic lifts to bring those people up,
that entire group of, um, soldiers or pirates, whatever.
That's how they entered.
[DeLuca] And there are deep pools of water throughout this set.
[Marshall] We lost a few people along the way...
- [DeLuca] We did. - [Marshall] ...as I recall.
- A couple wardrobe people. - [DeLuca] We cordoned them off,
we'd tell people not to, we had people overseeing them
and still we had people just falling in.
- [Marshall] Yeah, it was very... - [DeLuca] Unintentionally.
[Marshall] ...treacherous. It's true.
[DeLuca] But they'd always get a big cheer. [chuckles]
- [Marshall] Yeah, right. - [DeLuca] I think we made them feel...
[Marshall] This was shot on the 007 Stage, the James Bond stage at Pinewood,
which is one of the largest soundstages in the world.
And when you see a massive set like this,
you can't quite believe what you're stepping into.
I mean, everybody was just flabbergasted by this.
This is another one of those moments where you go,
"Wow, I can't believe I'm working on something of this scale."
[DeLuca] It was amazing when everybody was there, but to me the most...
Like you and I would just go there alone and start thinking about the scenes,
- and where things would take place... - [Marshall] Right.
[DeLuca] Specifics about the... 'cause it was just daunting.
[Marshall] It's true.
[DeLuca] Just this humongous space, and...
Without any lighting because it was...
That made it even bigger 'cause no shapes were cut out yet.
[Marshall] No, it was enormous. But, as you see, this is sort of obviously
where we, where the apex of the film happens, and the climax.
And so we are... Everybody arrives.
So it needed to hold all the British soldiers, all the pirates and,
you'll see in a moment, all the Spanish as well. So, um...
And this was incredibly complicated to stage
because you're working with so many people. Um...
It's actually the one time, you know, I wasn't...
Even though it seemed sort of huge, I actually felt comfortable, in a way,
because I'm used to working with large scale on musicals and things like that.
I actually felt, in some ways,
comfortable sort of maneuvering a lot of people around.
- [shouting continues] - [swords clanging]
[DeLuca] Poor Philip.
[Marshall] He gets slashed every scene.
[DeLuca chuckles]
[Angelica grunting]
Scrum, the chalices!
[Marshall] As you see, everyone's fighting,
so all of this had to be choreographed.
Every bit of this, everywhere you're looking. It's an enormous sequence.
Hand it over. The tear. There's a good lad.
[Marshall] This whole sequence here with Penélope and Stephen and Johnny, um...
This took a long time to figure out because it had to be a switcheroo.
And this kind of thing, you know, it looks simple, but it's not,
'cause you have to figure out who throws what to who
and it has to be rehearsed, and I remember this was...
[DeLuca] You're dealing with swords, too. [chuckles]
[Marshall] Swords that are real.
- [DeLuca] Real swords. - [Marshall] See, all of this.
And that's really them doing it, you know, so it was complicated.
I love kicking the chalices through the goal post there, John.
[both laughing]
[Marshall] This is the one daytime shot of this place,
which is in Oahu, by Turtle Bay.
And, uh, now you can see, actually with even more detail 'cause it's daytime,
you can see all the different pools and all that was created for that.
[DeLuca] And the rocks that were created
and these vines and everything brought in.
Give her back... [panting]
[whispers] Give her back, please. Please.
[Marshall] Such a mysterious moment.
You go, "Why is she leaving him after he's saving her?" you know?
This is the underwater photography we were talking about before. Um...
There was so much of it, obviously, in the mermaid sequence,
but we were lucky to have some fantastic photographers to do that for us.
[chuckles] I expected fate to put up more of a fight, eh?
[grunting]
[Marshall] Now Geoffrey and Ian were both incredible with the swords, John,
I have to say. I mean, they really, you know, fearless.
[DeLuca] Hmm.
[Marshall] Because these are real swords. They're not...
I mean, that's what's unbelievable. And we had no injuries
'cause it was so well-rehearsed by George Ruge and his team.
[DeLuca] And both these actors are used to rehearsing
and doing it a million times before they get it right.
[Marshall] Because they come from theater, I think, too,
- that discipline is there. - [DeLuca] A lot of rehearsing.
[Marshall] Here come the Spanish. Now we get to see Oscar.
He hasn't spoken a line since the beginning of the movie.
A wonderful Spanish actor.
Now you kind of get to feel the scale,
with all of these factions in the same space.
And that incredible wall of water
- in the back, there, John. - [DeLuca] Hmm.
[Marshall] That was overwhelming to see every time we walked onto the set.
And that's the end of Groves after four movies.
So... Greg had a dramatic end.
And we saw Damian before get slashed in the back. We lost Gillette, too.
Señorita, the chalices, por favor.
[DeLuca] So now we find out...
- [Marshall] Yes, exactly. - [DeLuca] ...why the Spanish...
[Marshall] Exactly. I mean, I think you believe everybody
just wants the Fountain of Youth because they want the power of the Fountain,
but we've just found out that Barbossa
has absolutely zero interest in the Fountain.
He only wants revenge on Blackbeard. And here we find, obviously,
that the Spanish have no interest in using the Fountain, but destroying it.
[DeLuca] Their religious beliefs...
[Marshall] Exactly.
[DeLuca] ...are contrary to the...
- [Marshall] Their Catholic religion. - [DeLuca] Yeah. Mm-hmm.
[Marshall] Yeah. It's...
There is but one source of life eternal, right, John? That's what it is.
You are a fool.
You seek in this place what only faith can provide.
Faith? In faith, there is light enough to see
but darkness enough to blind.
[Marshall] And, you know, what was great here
is the revenge for the Black Pearl.
Which, of course, means everything to Jack and everything to Barbossa, too.
Angelica! Don't! It's poison!
[DeLuca] You just really feel Geoffrey there when he gets his sword...
- [Marshall] Yeah. Yeah. - [DeLuca] ...plunged through his...
- ...nemesis. - [Marshall] It was so great
to be able to film this with all the principles, you know?
Everybody's there, and, um, that was great.
And you know what? We did film this last. So it was perfect,
because we were waiting to get everybody together for this final sequence.
It was very long and arduous.
[DeLuca] Got a little much with that water. People were a little...
[Marshall] Yeah, because we're trudging through...
Everybody, all the wardrobe people, all the technicians, all the grips,
everybody has boots on walking through the water.
[chuckles] Yeah, I think when we left this,
we were like, we were ready to go. But...
[DeLuca] You were able to keep morale up, you and Johnny, but it was tough.
[Marshall] Yeah.
Well, the great thing about Johnny, I have to say, is that, you know,
every day I would see in his eyes...
I mean, this was a long shoot, but I would see in his eyes that energy.
And he always gave that to me every day.
We've never shot a movie for as long as we have this.
And, um, I think it was a month longer than we've shot anything before.
It was 108 days, I believe, because it's that complicated.
And, uh...
...it was great to be able to have him as a support
and a cheerleader every day.
Here she is coming through with her eyes open, John, under the water again.
- [DeLuca] Try it sometime. - [Marshall] It's the hardest thing.
[DeLuca] It's really difficult.
[Marshall] She's so good and that was just luck.
That she could dive with her head, et cetera.
- [DeLuca] Yeah. - [gasping]
[Marshall] I remember when... This was important.
That's why we had the little small circle in the bottom here.
We wanted it to look like the Fountain was completely destroyed
except for the small circle, a few drips that were still coming.
- [DeLuca] Still had power. - [Marshall] So there's just
that much left before the Fountain is dry.
So everything's come here and he has the right chalices,
he has the water, and he has the tear,
all the things that you need to make this work.
Now, of course, there can only be one victim
and one person who gets the years.
They're all so good here, and when you see Penélope's work here, for me,
you know, I think she really brings an incredible amount of integrity
- to the work. - [DeLuca] She does go there. Yeah.
[Marshall] Especially with this moment here, the betrayal.
The father's betrayal.
[DeLuca] It's not just one thing, that's what I love.
[Marshall] Well, I think she's believed that she wants to save his soul,
and she believes that he... somewhere in there, was a good man.
But you see he's just a selfish, black-hearted man.
I love you, Father.
[DeLuca] But even though she's betrayed, she drinks.
[Marshall] She's betrayed and she still...
[DeLuca] It's a lot of layers.
[Marshall] Yeah, she still gives her life for him.
And this is one of my favorite moments in the film.
[DeLuca chuckling]
Wait a minute.
In fact, it might have been the other way around.
[Marshall] Smarter than all of us.
He knew exactly what would happen, knew exactly what he was doing.
It's what makes him such a brilliant pirate. He's brilliant.
[DeLuca] He became a very good friend, too.
[Marshall] Johnny, you're talking about?
- [DeLuca] Yes. - [Marshall] Yes.
[DeLuca] You two had a very special bond,
from the beginning, and that made it
all that much easier in terms of this kind of difficult process.
- [Marshall] I really... - [DeLuca] Kept everyone very positive.
[Marshall] We have a very similar sensibility about filmmaking.
I think it has to be a joyous experience in the midst of making something
that's complicated and difficult, you know?
[DeLuca] Yeah, it's hard enough. [chuckles]
[Marshall] Yes.
This was, um...
...very complicated CG work here, to have this all look as real as possible.
And the hand coming out in 3-D, I have to say, is one of our special moments,
3-D moments, that I think really is exciting in the theater.
[DeLuca] I'd say that's the last thing we really worked on, wasn't it?
Pretty much.
[Marshall] The mermaids and this sequence
were the most complicated, yeah.
[DeLuca] Yet once again, this poor boy...
[Marshall chuckles] Yeah.
[DeLuca chuckles] And he looks like he's been through it here.
[Marshall] You see even just the little scales there on her chest,
you see that at the waterline is where she's creature.
My mind is at peace... because of you.
- Me? - Yes.
I was lost.
The wind, the tides...
[DeLuca] Again, I like the ambiguity in this scene, in this...
[Marshall] Mm-hmm.
[DeLuca] ...the way they're, in a sense, wrapped up.
[Marshall] Yeah, I mean, I think...
...obviously, right now, she's about to take him under to somewhere,
but we don't know where and the question is unanswered.
And I think that's good, because we want to imagine what it is.
[DeLuca] I like when people have questions,
and everyone has their own way of accepting or...
[Marshall] Yeah. And understanding what it is for them.
[DeLuca] Their own ending and I love that.
[Marshall] Yeah. I mean, I think it's clear.
I mean, I think after being with her
that's she's not taking him under to kill him. She might be.
[DeLuca] We know what we want, but people can have their own opinions
- about what the ending is. - [Marshall] Right. Exactly. Exactly.
[DeLuca] What their fate is. It's what you believe in, really,
is how you want to see it, and I love that.
[Marshall] Yeah. It's mysterious.
This was an incredible location. This is the one thing we shot in Puerto Rico.
We had to find a deserted island, um,
where Angelica could be dropped off by Jack Sparrow
with nothing but a pistol and one shot.
And we needed something very calm, obviously. You see he had to row
and he actually has to leave her and get in the boat and start to row away.
It needed to be calm enough water,
which you can only really find in the Caribbean, not in Hawaii.
Hawaii is really pretty rough.
Beautiful waters, but very difficult to find.
So we came to Puerto Rico and shot right here in the Caribbean,
- which was amazing. - [DeLuca] And we needed 360, you know?
[Marshall] Needed 360 and needed to be... Yeah.
- Admit it, Jack. - [Marshall] What's amazing...
...obviously they look like they're alone on the island.
There are millions of people there.
[DeLuca] Don't look too close to the greens behind them. [laughs]
[Marshall] People hiding behind there, yeah. [chuckling] Exactly.
But what... This was incredibly hot,
and every second I said, "Cut,"
- the entire crew was in the water. - [DeLuca chuckling]
[Marshall] And it was beautiful water, boy. I mean, that's the kind of water
you just walk into. You don't feel it. It's just so exquisite.
[DeLuca] It was always so ironic to me when she says, "I'm with child" there.
- She truly was. - [Marshall laughs] We love that.
- [DeLuca] Little Leo. Leonardo. - [Marshall] She was.
I think... You know what? In retrospect, now that we know it was a boy,
I think there's something very special about having a boy inside her
because she was playing a pirate,
which needed a lot of, sort of, masculine energy,
and I think it was really special for her,
very special for her, that she was pregnant.
- With him. - [DeLuca] Yeah.
- I gotta go. - Jack!
[Marshall] I love this ambiguity to this, too.
[DeLuca] You wanted it to sound like the needle was taken off of the...
[Marshall] Yeah, but not a big scratch.
[DeLuca] No, just lifted.
[Marshall] Just lifted. Stopped, exactly.
And, uh, because I wanted to make sure, you know...
[DeLuca] No, I like that touch. I thought it was...
[Marshall] Because, you know, they can't... It's that classic thing.
They can't live with each other, they can't live without each other, you know.
And he knows he's not husband material, you know?
He has to be a pirate to the end.
[DeLuca] Makes for those delicious sparks,
- you know? - [Marshall] Yes.
The Revenge is mine.
- [Marshall] Love the double entendre. - [DeLuca] Yes.
[Marshall] Because it's "The revenge is mine"
and also the Queen Anne's Revenge is his.
And now we see Barbossa as we've known him from other films.
- The classic Barbossa. - [DeLuca] For people that do know
and love the other films, I know there's a sigh of, "Ah, he's back."
[Marshall] Yes, exactly.
[DeLuca] It's a lovely moment for Geoffrey.
[Marshall] Yeah. Well, he tried that other thing, but all that was a ruse
just to get what he needed, which was the power of the ship.
And he has the revenge of the man who took his leg.
I mean, I hope it's clear that Barbossa cuts off his own leg.
[DeLuca] Well, now it is if you say it a little clearer.
[Marshall laughs]
[DeLuca] Only people that watch this commentary will know.
[Marshall] Well, he says, "I did what needed done."
When the rigging was wrapped around his leg, he had to cut it off himself.
[DeLuca] He says that in the palm tree grove.
[Marshall] I like that not everything's completely spelled out.
[DeLuca] Makes it a little more interesting.
[Marshall] You have to watch it a few times.
And off they go to the classic Tortuga, and here we go.
And look at the guys up in the ratlines there.
What an amazing shot that was to create.
[DeLuca] There's that third level up there, so high.
[Marshall] Amazing helicopter shot.
There's our last scene of the film. I can't believe we're here.
This actually was shot, um, in Kauai, on their beautiful beaches there.
And, John, you and I found this driftwood.
[DeLuca] We moved it here, but we found it down the road.
- [Marshall] Down the beach. - [DeLuca] "What's that down there?"
[Marshall] We said we wanted something natural,
and wanted something we could shoot through like this so we could, uh,
you know, see their faces.
[DeLuca] We kept saying we wanted it to look like driftwood.
[Marshall] Right. And it was. This is driftwood. [laughs]
[DeLuca] John said, "Why should I build it?"
[Marshall] Yeah, don't build driftwood.
[DeLuca] They like it, get it.
[Marshall] It was real. And so here it is.
And it just was kind of wonderful to end with the two of them. Um...
The movie begins with the two of them.
You know, he basically comes... and the monkey. [laughs]
- But, um, what's great... - [DeLuca] From the other films.
[Marshall] From the other films. But the great thing is that, you know,
this whole excursion begins by him coming as a judge,
impersonating a judge to release his dear friend, his first mate, Gibbs.
And this is the Na Pali Coast.
I love the philosophy of the film,
something that was really important to me,
that, you know, this should be a fantastic, exciting ride,
but it also needs to say something as well.
And I think what it says about the Fountain of Youth,
which is so prevalent in today's culture,
that everybody's looking for it, but it's not really what a pirate's about.
A pirate's about living on the edge, and that's what a pirate's life is,
not knowing what the next day will be and the excitement of that.
[DeLuca] And being free of that.
- Not needing to be... - [Marshall] Yes.
[DeLuca] ...to be younger or anything else. You live in the moment.
[Marshall] Because that's what life is.
I mean, it gives you that great excitement.
And that's why I think people love pirates, um, themselves,
because they don't conform, they are who they are,
they're free to be who they are. Everybody wants to be a pirate.
And I think it's because you live life like it's your last.
Like every day is your last.
And, um... So that you live it fully.
And I think that's what the movie really is saying.
And, uh, so I love that the philosophy at the end can really take us there
when he says, "It's a pirate's life for me."
That's my life, that's what's been determined.
- [DeLuca] It is a cliché line... - [Marshall] Mm-hmm.
[DeLuca] ...but then it's spun with that "Savvy."
It's spoken by Jack Sparrow.
[Marshall] It's truth, though. I mean, it's the truth. That is his life.
- [DeLuca] It is. - [Marshall] And, um, he knows that...
And that's why he can't be with Angelica right now.
He has to live the way he lives.
He doesn't drink from the Fountain. He could've.
But he, um... Which we all would, you know, be tempted to.
But isn't it more exciting to live life to the fullest every day?
- [DeLuca] And not know. - [Marshall] And not know.
- [DeLuca] Our great, wonderful cast. - [Marshall] Here's our cast. Wow.
[DeLuca] Just so honored to have worked with.
[Marshall] What a luxury. What a luxury to work with these actors.
I mean it's, to me, after all of it,
it always comes down, to me, is the cast,
and who you're working with as actors. It's an incredible experience.
[DeLuca] Who, in a sense, support the story.
[Marshall] Exactly.
- [DeLuca] And bring that story to life. - [Marshall] Exactly.
- Well, John, this has been really fun. - [DeLuca] This was fun.
- Thank you for listening. - [Marshall] Yes, I hope you enjoyed it.
[DeLuca] You may have heard my dog in the back snoring a little.
That's just my little dog.
[Marshall] Or you might've turned it off a long time ago.
- [DeLuca] That's OK, too. - [both laugh]
[Marshall] We had a good time. It was a great experience.
[DeLuca] Hope you enjoyed the adventure.
[Marshall] Yes, yes. A great adventure. Thank you so much.
- [DeLuca] Thanks, bye. - [Marshall] Bye.