Ahoy, mates! This blog was the part of my life in two last months, but now, when pirates 3 are so close and spoilers/videos/photos/advertisements are almost everywhere in web I guess usability of this blog has exceeded. I really don't want to collect or search for any news, because spoilers follow every step in web, so I don't want to read any of them and don't want to find out anything about third pirates now (even reviews), that's the reason! You have to understand me - I just don't want to ruin the day when I'll see the movie I've waited such a long time!!! And my advice to you - just shut the idea of getting all sorts of information about this movie - just wait a bit - just one day - and you will finally see it and feel it!!!
Tnx for everyone who have found this blog useful!
PS> But stil, I'll post Pirates' box-office results, news about movie's DVD release and rumors about sequels in future, so don't think this blog is dead, but now it is, mmm, sleeping :)
PPS> Sorry for my English, it's not my first language :)
GOODBYE, MATES!
NEW VIDEOS: Interviews, TV Spots
There are many videos in the web, because pirates are coming and world premiere has already happened, so promotional staff is everywhere (and must be everywhere), so just check them out(i really liked a TV spot called "The Ultimate Battle"):
New TV spots - "We're Back" & "The Ultimate Battle"
Exclusive Interview: Jerry Bruckheimer on POTC3!
Exclusive Interview: Geoffrey Rush on Captain Barbosa
Exclusive Interview: Bill Nighy on Davy Jones
Depp, Knightley, Bloom on Pirates 3
New clip from AWE
A new which's called "four of you" has been out. Check it out!
Click HERE to see it on MSN
New TV Spot
And once again - an absolutely new TV spot which, how always, gives us only a few new moments: DOWNLOAD
"At World's End" Soundtrack review
A review of movie's soundtrack by Mike Brennan had been posted on Soundtrack.net: link
New videos: TV spot & behind the scenes footage
TV spot is in CAMrip quality and it doesn't show anything new, but some moments seems fresh for me!
But 18 minutes of behind the scenes footage are amazing!!! I mean it's not just interesting, but it also shows tones of new scenes and making of them.
New AWE CLIPS in quite high quality!!!
Four of these are absolutely new. I like the one with Jack the monkey and Tia Dalma, Tia is hot dirrrrty bitch, monkey is so cute!!!
Clip #1("Lost")
Clip #2("Punishment")
Clip #3("Weapons")
Clip #4("You're mad...")
Clip #5("Lost bird")
Clip #6("Will you marry me")
EXCLUSIVE NEW VIDEO: Starz on the set of POTC:AWE
THIS VIDEO IS REALLY AMAZING!!! A lot of new scenes, interviews and behind the scenes footage!!! Sorry, but quality isn't best!
DOWNLOAD
tnx to Serein from OrlandoLove
NEW CLIP: POTC3:AWE "World's End" scene
"The View" showed a new clip from At World's End last night!!! Great scene!!!
AWE new clip with preview on Extra
It's a low quality video, but it has some new scenes!
Check it out here
AICN visits the editing room of PIRATES OF THE CARIBBEAN 3: AT WORLD’S END!
AICN: Last year, at the start of June, I visited the editing room where Gore Verbinski was hard at work trying to finish PIRATES OF THE CARIBBEAN 2: DEAD MAN’S CHEST. I got my first look at finished Davy Jones in that room, my first sense of the larger world that the filmmakers were trying to create. I was enthused about what I saw, and I thought the final film was pretty damn fun. I’ve heard a lot of complaining about the second movie, but I absolutely stand behind what I said then: I think these are dense entertainments, and I like the complex juggling routine that Elliott and Rossio have set up for themselves as screenwriters. The ultimate artistic success of this series depends on how this third film plays out. The second film introduced about a half-dozen story threads that have to play out now, and this new movie is all about how those threads are completed. Can this team stick the landing?
This year, I met Bruckheimer in the same exact place I met him last year, in one of the mixing theaters on the Fox lot. We talked a bit about what I’d seen of the other summer movies as we walked back to where Stephen Rivkin, the film’s editor, was waiting. I’ve visited Bruckheimer during post several times in this last year, and it’s always the same sort of experience. He’s a gracious host, direct, and I never feel like I’m being hyped. He’s content to just show you the footage and let it speak for itself. He told me that the first bit of footage I’d be seeing would be the opening of the film.
And so I saw the first shots of Singapore. Kiera Knightley as Elizabeth, heading into the city in a small boat by herself. Singing. It’s a pirate song, but it’s not one we’ve heard before. Some of the people she paddles past know the song, though. It draws attention. And when she finally pulls up to dock and she gets out, she’s immediately approached by some rough-looking Chinese pirates who warn her about singing that song, especially when traveling alone.
She’s not alone, though. In fact, Singapore is positively crawling with other characters from the films.
There’s the crew of the Black Pearl, for example. They’re making their way through the underbelly of the city, almost at a parallel to Elizabeth. When she’s dragged into the presence of Sao Feng, played with remarkable charisma by Chow Yun-Fat, she’s not alone. Will Turner (Orlando Bloom) is there, a prisoner. Barbossa is there. This is basically the Jabba’s Palace/Barge scene from JEDI, but without any shitty musical numbers or Muppets. It’s a nice build-up, a cool way of dropping us back into the world of the films.
We can tell that things are changing. The net is closing. It’s the end of an era. And the only way our characters can see to fix things is to get hold of the charts to the end of the world. That’s what Sao Feng has that they want.
Deals are made. Double-crosses are set into motion.
The actual trip into the afterlife is surreal. I’ve only seen a bit of this, but what I saw is wild, and I’m dying to see the rest of it. Here’s where we get a whole lot of Johnny Depp. I have a feeling this is the closest we’re ever going to get to the heart of what makes Jack Sparrow tick. His rescue is suitably absurd, and the return to the land of the living is positively Gilliam-esque.
Yeah. That’s right. I said it.
After the return to the world of the living, the crew of the Black Pearl has to get to a meeting that’s been called of all the Pirate Lords. Each of them carries an item with them that is the symbol of their membership in the Pirate Brethren. This is one of the most outrageous sets in the film, at least based on what I saw.
This is also where the movie’s primary mystery is laid out: the nature of Calypso. It turns out that there was a time when pirates were afraid to sail the open ocean because they were afraid of Calypso’s fury. Then they found a way to bind her, to make her take on human form, and in doing so, they were able to tame the oceans. Now, with the East Indian Trading Company using the heart of Davy Jones to tighten the net around every single pirate still working, it’s time to consider radical solutions to the problem at hand. Like releasing Calypso and surrendering the oceans without surrendering to the East Indian Trading Company.
Which raises the question... who (or what) is Calypso?
Of course, that’s not the only thing the film has to accomplish. There’s a reason this one is skirting the three hour mark... they’re going to resolve everything they’ve put into motion, and just like with DEAD MAN’S CHEST and the first film, there’s even a little bit of extra movie at the very, very end after all the credits. Among the many storylines to be resolved, we see Elizabeth deal with both her betrayal of Jack and her relationship with Will. We see Will resolve his attempts to rescue his father Bootstrap Bill (Stellan Skarsgard) from the service of Davy Jones (Bill Nighy), who is now under the thrall of Lord Beckett (Tom Hollander) and Admiral Norrington (Jack Davenport), who are commanding a tremendous naval force that is imposing a new order on the entire world. Even supporting characters like Ragetti (Mackenzie Crook) and Pintel (Lee Arenberg) and Gibbs (Kevin McNally) and Marty (Martin Klebba) get some degree of resolution.
Double crosses are revealed. New deals are made.
I was amazed by the scale of this final film in the series. In the hour or so that I was shown from the film, the most amazing stuff by far was from the end of the film. You’ve seen a hint of it in the trailers, with the ships fighting back and forth across a giant whirlpool. That scene starts outrageous and then just keeps getting bigger and bigger and wilder and more insane. There are things going on all over the place, different planes of action and comedy and drama playing out.
After watching the footage, I walked with Bruckheimer back to the mixing stage where Gore Verbinski was working. When I saw him last year, he looked exhausted. This year, he had that stare like Private Pyle in FULL METAL JACKET. The screen in the stage played a scene involving Calypso, and I got a pretty long look at who that is and how they finally appear. Verrrrrrry interesting. The volume on that mixing stage was painful, and they just kept playing the same few sound effects over and over. Verbinski made a reference to the Chinese Water Torture, and then we were on the move again, leaving him to it.
I asked Bruckheimer if he misses being able to test-screen these movies. He told me that he showed it to a group of friends and family, and that they made some adjustments based on that screening. He says it’s just not possible to finish one of these movies early enough or well enough to show to a test audience. And indeed, when I was there, they were still basically waiting on a set number of shots to be delivered from ILM each and every day. Amazing how close these giant movies come in terms of delivery dates.
Even so, as I left the studio, I called my writing partner to talk to him about how anything is possible in movies now. You can pretty much do anything. The old crticism "That's too big, and it's impossible to film" no longer applies. This ending is so bizarre, so bold and audacious that it seems like almost a dare from the writers to Verbinski: "Let's see what you can really do." This certainly isn't a case of a sequel just doing what's been done before in the series.
I’m seeing this movie soon. Right now, I’m confident that what we’re getting is a fitting end to this trilogy. I think you have to think of this and DEAD MAN’S CHEST as two parts of a film, then the first part was all set-up and this one is all pay off. At least, that’s what I hope it is. For now, I think this looks like a really satisfying third entry in a series, and about as much bang for the buck as anything any studio’s releasing this year.
Thanks to Disney and Jerry Bruckheimer for having me in on this one.
anticool.com
POTC:AWE Spoilers
MTV has some "POTC: At World's End" spoilers
WARNING!!! Don't follow this link if you don't want to be spoiled!!!
Geoffrey Rush Interview
Geoffrey Rush reprises his role as supernatural pirate Captain Barbossa in "Pirates of the Caribbean: At World's End", the highly anticipated third instalment in the blockbuster franchise.
yourMovies editor Mark Beirne spoke with the Oscar winner at the press junket in Melbourne to uncover some of the movie's secrets.
yourMovies: Barbossa was the villain in the first "Pirates" movie, but in the second he became an ally. Can he be trusted?
Geoffrey Rush: Well spotted! You'll need to see all of the various chess moves that happen in part three to fully satisfy that answer. But certainly the implication from that cliffhanger ending on part two is that out of all of the people you want to bring back from the dead to help rescue Jack from being eaten by the beastie, Barbossa's not the best guy to do it. They're sworn enemies. That forms the premise of one of the many key plots that dominate the third film.
yM: Details of the third movie are top secret - what can audiences expect to see?
GR: "Pirates 2" and "3" were always conceived with one huge story arc, with that cliffhanger interval - the presumed death of Jack Sparrow followed by Barbossa's resurrection. To be honest, because it is one huge story, a lot of what happened in "Pirates 2" was putting down the pipe-work for the kinds of dramatic payoffs that are going to happen in the third film. As I was going through the screenplay, I thought "My God, every seven pages there's some phenomenal new action sequence that comes out of the storyline or flips the story into another dimension". The big set pieces the fans are looking forward to, as well as the convolutions and permutations of the character conflicts, are there in force.
yM: The "Pirates" movies are very tongue-in-cheek - was the atmosphere as light-hearted on the set?
GR: We had a hefty schedule on our hands because they're big films, and just the logistics of shooting out at sea means you look at the daily call sheet and [realise] you're 30 miles out at sea, I've got to get up in the dark and go out in a dinghy on very rough seas to get to the location - and then spend two hours in make-up. Of course we've been doing this on-and-off now for four-and-a-half years so there's a tremendous camaraderie between all of the departments. The actors don't just spend time amongst themselves; you spend a good part of the day with the make-up team, the stunt guys, the expert marine department who are ferrying you there. Someone like Johnny is a great team leader... it's great not to have a diva. It's great to have someone who's very laid-back, very playful... he's probably the only person who dares to ad-lib. A lot of what he throws in makes it into the final mix. Jack Sparrow is some crazy part of Johnny's brain.
yM: What are the main differences between a Hollywood blockbuster of this nature and movies you have filmed in Australia?
GR: It's a question of scale and attitude. If you work for Disney, which is one of the big studio conglomerates in the business machine that is Hollywood, there's a different kind of heritage and attitude. Most of what we make in Australia are much smaller scale, independently produced films. Being on a film like "Candy", the scale of it is just smaller - the aspirations may be as great, but you have a crew of 20, whereas on "Pirates" some days we would have lunch for 700 people. "Pirates" costs an extraordinary amount of money because of the nature of the CGI, actors, large numbers of people.
yM: You have played such a range of unique characters in your career - do you have a favourite?
GR: Not particularly. I always look very fondly back on "Shakespeare in Love" - again, it had a large cast. When I was promoting that film, I said it was the party of the year. It was a very funny, very lively set because all those guys who were playing Shakespeare's acting troupe were all fine actors in their own right and some of them fresh out of drama school and they were frisky. That's the one that I hold great affection for. A film like "Quills" and "Peter Sellers" - big companies, lots of actors. "Peter Sellers" particularly because we would have the Charlize Theron section of the shoot for two-and-a-half weeks and then Emily Watson would turn up and then Stanley Tucci and Stephen Fry... just great, great actors to work with.
yM: What about a favourite actor you have worked with?
GR: I've been pretty lucky for a middle-aged character actor; my leading ladies have been Cate Blanchett and Salma Hayek and Charlize Theron and Kate Winslet. And Johnny Depp, we've been together for four-and-a-half years now on these films; he's one of the great character actors in a leading man's body who constantly surprises himself and his audience with his capabilities and imagination.
yM: Is "At World's End" the end for Barbossa, or do you hope to star in future sequels?
GR: The decision would be totally in the hands of the Disney executives or Jerry Bruckheimer. Of course if the movie makes a lot of money, they will always consider "Can we make more out of this?" As a business, it's like releasing a new car: if the car works and sells and people like it, they go "Next year we'll make a new model and make it more eco-friendly". But being a film, it then involves the creative people, and if the writers feel they've exhausted the potential of the genre or if Johnny feels he's burnt Jack out... I don't know, it's all speculation at the moment.
yM: Tell me about "The Golden Age", the sequel to "Elizabeth".
GR: "The Golden Age" won't be released until much later this year, around about October I think. I have seen the current edit and it looks absolutely fantastic. Given that there's been so much Elizabethan product out there - Helen Mirren, and another English television film and the series "The Tudors" - from a test audience it rated extremely high.
yM: Have you ever been on the "Pirates" theme park ride?
GR: Oh yeah, of course! I went on that many years ago when I first took my kids to Disneyland, probably back in the late '90s. I'm now part of the ride - they've taken Blackbeard out and they've put Barbossa in. And Jack Sparrow now pops up as an animatronic figure. He's a bit like Where's Wally, you've got to find him as you go through the ride.
yM: Keith Richards is in the latest "Pirates" movie - did you meet him on set?
GR: Yeah. He's done his bit, he has a beautifully presented little cameo. It's quite a big scene in the film, one of the major plots is the conflict between the East Indian Trading Company and Davy Jones versus the Black Pearl. So Barbossa calls together this meeting of the nine global pirate lords - it's a bit like G8 for pirates - and Keith has a role in that scene.
YourMovies.com
Pirates 3 Singapore Set Visit!
Last year, ComingSoon.net was invited by Walt Disney Pictures to visit one of the sets being used for the upcoming Pirates of the Caribbean: At World's End, that being the recreation of the much oft-mentioned Singapore where Johnny Depp's Captain Jack Sparrow spends a lot of his time. This is also where we meet Chow Yun-Fat's Captain Sao Feng as the various pirate crews unite to fight the East India Trading Company.
Here is CS correspondent Andrew Weil's report from the visit:
The set that opens "Pirates of the Caribbean: At World's End" took over the vast expanse of Stage 12 on the Universal Lot. Once home to the Penguin's Lair in "Batman Returns," this soundstage was home to the awe-inspiring re-creation of 18th Century Singapore for 'Pirates 3.'
Built to scale, the incredibly-detailed Singapore set was incredible to walk through, built over a 3-foot deep pool of murky water giving the illusion of being held up by bamboo stalks, all with lit lanterns. There were 22 thatched structures actually built on stilts and numerous bridges linking together huts and a town center square, which featured an elaborate spice market next to a giant moat that allowed for great possibility for action sequences. The fireworks store that faced the spice market also set the scene for some explosive action. Every square inch of the set was cluttered with details, giving a very rich, full look to the city.
I even had a sense of fear crossing a very rickety bridge that, in the film, is used as a launching pad for East India Trading Company soldiers to attack our heroes. While I was not privy to what was filming that day of shooting, I did notice Geoffrey Rush wandering around the set practicing dialogue.
Disney also gave ComingSoon.net a chance to talk with production designer Rich Heinrichs about the design and construction of this particular set:
ComingSoon.net: How much warning did Gore Verbinski give you about having to construct 18th Century Singapore on a soundstage in L.A.?
Heinrichs: Well, you know, when it exists there as a word in a treatment, "Singapore," well it's a city, we know that, and then you do research on it. When the script's not completed and you have no sense from the director of the action that needs to take place, you're kind of creating and communicating to the director enough information that he actually is piecing a scene out of. It's a lot of fun in these movies to have that kind of an influence over the direction the movie is going to take, come up with various ideas along the way that would provide physical comedy or action ideas to enhance it. You don't often in films have the opportunity to give the sense of a whole community. I got to do it in "Sleepy Hollow" and "Lemony Snicket" and various other films that I've worked on. There's something about a collection of structures that are related and yet all different and organically melded into a landscape. It's such an amazing thrill to work on. Singapore is no different. In fact, it was a combination of water-based architecture, stilt houses or they're called cantons in Southeast Asia, along with more land-based structures. We turned this whole stage, and it's a fairly large stage, not huge but pretty good size, into this period urban environment that had so many different and interesting points of view and little pathways going from one place to another, so that the director was able to just turn the camera a little bit and get a completely different look in all these different directions. Whereas, when you stand there and look at the set, it's this composite, but when you actually see it on film, it becomes larger if you will, and allow all different kinds of action. There were interior parts, there were tunnels with water in them, the stilt houses and bridges. It was one of those sets that is a fantastic set to visit, because it's so unusual, and you look at it and go, "So this is what Hollywood is like." It was the opposite of a green screen film.
CS: How closely did you work with Gore on the design of the set? Did he give you any sort of idea what he needed beforehand or did you just design something and then change it as he needed things?
Heinrichs: With Gore and with any director, it's a chipping away process of kind of vague overarching concepts and what the set pieces will represent. The funny thing here was the fact that we were shooting the 2nd "Pirates" film while planning this major set for the 3rd film. The director is concentrating on all the action and characters and elements of the 2nd movie, and you're trying to get his attention on this third movie that doesn't come out for another couple of years. He knows he's got to do it, but he's got other stuff going on. What I had to do was kind of interesting. We built an eighth inch scale model of the set that we had to pack up in special boxes, and I had to fly it down to the Southern Caribbean, hoping that all the elements would come through in baggage and customs, find a place near Gore's cabin on the island of Dominica, set-up the model again. I brought down my lipstick camera. We were just sort of way out there and I had all of my elements constructed from the art department, where we could actually could get into it and Gore could figure out what action was going to be taking place and what the characters that were going to be in that. It was one of those great moments of feeling that all of the tools that we bring to bear on what we do, we were able to bring down to Dominica. I got all the info I could from him at that time and went back, chopped away at the model and redesigned it and ten weeks later, we had a set.
CS: How has this compared to other sets you've done like for "Lemony Snicket" or the last Pirate movie?
Heinrichs: It's different in the sense that… "Lemony Snicket" was fairly unusual in that it was a little bit more trying to have as many real textures and yet have an intentionally theatrical feel to it. These are more real adventures out there in the real world, getting as much in-camera as possible out on the location. Getting as much of what makes sense on stage. The visual effects that are added to it really are enhancements. They're not creating the world. They're simply filling out or adding onto it. I think that's one of the great things about P2 is that it feels like this amazing adventure that the audience is in, and that they're really out there and the visual FX are there to support that rather than simply to create something new completely.
CS: I've asked a few other production and set designers about this, but how does it feel when you create something huge and amazing like this, and eventually, you know that it has to be torn down? Essentially, it's only being built for this one project and it has a finite life.
Heinrichs: I have young children, and I would guess it's like when they have to go off to college and become adults. You sort of have to kiss it goodbye in your mind and think fondly of the good moments. Maybe that's not the right metaphor (chuckles), but it is just one of the… we're not building for museum storage, we're building for the moment of actual filming. It's just part of the process and all you want to do is make sure you're recycling as much as you can and that you're not being too wasteful. Hopefully, you're only building what's needed for filming and being as efficient as possible that way and that you're being responsible about it. Then basically, you've just gotta turn your back on it and walk away.
ComingSoon.net
"Pirates Of The Caribbean: At World's End" official MySpace blog
Check it out!!!
There is nothing special on this blog at the moment, but some interesting things like Character Timeline, Interactive Map(Where you'll be able to find nine Pirate Lords) and some kind of Remixes, are coming soon!
Preview of AWE soundtrack!!!
You can listen to snippets of four tracks of PoTC:AWE soundtrack here!!!
"Parlay" sounds interesting ( like from a cowboy movie :D )!!!
NEW VIDEOS: Interviews and an exclusive preview
I didn't want to make a new post for each of these videos, so here they are:
MSN interview with Keira Knightley
MSN interview with Orlando Bloom
Exclusive Preview of the Next 'Pirates of the Caribbean' on EXTRA
New featurette ["Pirate Lords"] in HQ
This one is great!!! A lot of new footage!!!
Download in HD 1280*720 or HI Quicktime
