3Home pirates of the caribbean: the curse of the black pearl production notes
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 Chapter 9: Visual Effects: Creating the Living Undead |
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 “We have an added ingredient in this film,” says Bruckheimer. “And that's the supernatural aspect of the story. It lends itself to incredible visual effects, so we went to ILM because they've done a great job for us in the past.”“The effect of the pirates turning into living skeletons in the moonlight adds to the level of excitement on screen,” says Verbinski. “It allowed us to have even more fun with the genre and the characters.
“The first time animatronics were used was in the Disney ride,” the director continues. “Seeing the barking dog and the talking skeletons made you question whether or not it was real. But today's audiences are savvier because of effects. We are using computer-generated animation to achieve that same reality for today's audience.”
John Knoll and a team of experts at Industrial Light & Magic were entrusted with the job of bringing the skeletal pirates to life. Under an unheard of deadline, Knoll and animation supervisor Hal Hickel started with sketches and an animatronic sample. Knoll, Bruckheimer, Verbinski and Bruce Hendricks spent countless hours discussing just how to go about illustrating the pirates to find the perfect balance between being alive yet decomposing.
Visual effects are used not only when the actors are seen transforming into skeletons, but also when each character becomes a completely animated skeleton. The filmmakers did not want to use stopmotion or other similar effects used so frequently in mythical stories.
“John Knoll and his team came up with some unique images that really impressed us,” says Bruckheimer. “The time constraints ILM had to work under were unspeakable. It's amazing the detail and care that's been taken.”
For Knoll and his crew, the visual effects on the picture fell into three categories: the matte paintings that are for establishing environments, the ships at sea (since there weren't complete ships for the Black Pearl and the Dauntless), and the skeletal pirates.
Creating the skeletal pirates was the most exciting aspect of the job for Knoll. “It's such a bold image. You only see them as skeletons in the moonlight, so it's always very spooky circumstances to begin with. These are cool shots.”
The process of designing the skeleton pirate characters began with taking photographs of the actors in wardrobe and makeup. “Then VFX Art Director Aaron McBride spent time painting a version of each of them in skeletal form,” says Knoll. “We went through a couple of revisions until we got approval from Gore on what these characters should look like.”
From there, the team got 3-D scans of all the actors. “So for each of the actors we've got a full body scan and we have a more detailed head scan,” continues Knoll. “We built one very detailed skeleton that has all the right bones in it. Since everyone's skeleton is a little bit different from everyone else's, the first step is to take the skeleton and kind of fit it properly inside the particular person's envelope, or 3-D scan. There's a lot of scaling and smushing to get it to fit.”
A few layers of skin are then built; designers scanned turkey jerky to help them replicate what McBride calls “the dried and desiccated meat look” of the skin of the skeleton pirates. The skin is then painted with different textures and transparencies for a complex look.
Of course, all of the characters have hair, clothing and props. “The wardrobe is multi-layered, and so we need to simulate that so it all folds properly and interacts with all their props. A lot of them have sashes and muskets and swords and necklaces and all sorts of things that the cloth has to properly behave around,” says Knoll.
A lot of work went into designing the individual characters so that they are recognizable in both live action and as skeletons. “Some of them have particular bits of wardrobe or particular facial features that we try to carry through,” says Knoll. “Ragetti's got a wooden eye and he's skinny with bags under his eyes. Pintel has got long hair and he's bald on top, so he's got a lot of exposed skull up top. Koehler's got these really interesting dreadlocks; when he moves they sway all around. Twigg has got a beard, and he has this knit cap with a big hole exposing skull through it. Jacoby has got this very long beard-kind of in the form of dreadlocks-and he's got fuses woven into his beard. When he is fighting they are lit, so they are smoking.”
“When you see the characters as skeletons, you'll know immediately which pirate is which,” says Verbinski. “Even when they're 100 percent computer generated and their clothing is in shreds, you'll know. Not just from the actor's voice, but from every nuance, which is why we shot entire scenes only as reference.”
The most problematical challenge for filmmakers was illustrating the fight sequences; Verbinski and director of photography Dariusz Wolski were forced to rely on a combination of skill and guesswork.
“It wasn't only difficult for us, it was equally demanding for our stuntmen, our stunt coordinator, and ultimately for our cameramen,” says Verbinski. “They had to do a lot of handheld composition during the swordplay. First we'd photograph the British Navy and the pirates fighting. Then we'd do another reference pass with just the Navy, followed by another with just the pirates. The guys are essentially fighting air, which looks pretty silly by itself.
“We'd be photographing air,” the director continues, “and then pan over to a skeleton that wasn't there, saying his line of dialogue, and panning back to another skeleton. We had a lot of technical discussions about how to pull focus to a fictional point of reference while still keeping the excitement of a combat scene. We really didn't want to get into motion control and that sort of static, sterile composition.”
Always on the cutting edge, the artisans at ILM rose to the challenge.
THE STUNTS
“The biggest trick for George and the stunt team was how early on we had to shoot the skeletons,” says Verbinski. “Because our delivery schedule was so insane, we had to shoot completely out of order and begin even before we were able to figure out exactly how we wanted the fight sequences to fit into the rest of the action. That's also why we had to build some ships on stage and some down in the Caribbean. All of those factors presented a lot of challenges in terms of rehearsal time.”
In early November 2002, production moved to San Pedro to begin shooting in the Port of Los Angeles and dockside with the Interceptor and the Dauntless. Portions of intricate ship-to-ship battles and elaborate fight scenes were staged in the South Bay, some of which were then completed in the Caribbean. For close to two weeks, shooting at night with the temperature dipping into the 40s, stuntmen and actors alike scaled the ship's rigging, climbing over her bulwark and onto the deck, in a surprise attack. Suddenly dozens of pirates and sailors were dueling to the death, dueling over and over again, until Verbinski, his cinematographer and stunt coordinator were satisfied. Then Verbinski would find a new angle for his camera, and the action would start again and keep going until sunrise.
“There are moments when the pirates get involved where it gets a bit vicious,” Verbinski says, “but it's a tricky balance because I want my seven-yearold son to be able to see this.”
When Keira Knightley first glanced at the script, she had no idea what physical feats would be demanded of her. “I remember thinking to myself, `Oh, this is going to be easy! I'll sit in the back of carriages, I'll wear pretty dresses, I'll pout a bit; it will be fun,'” she jokes at her own expense. “I never imagined the amount of stunt work I'd do, and for someone as lazy as I am, it was rather challenging.”
Every pirate movie requires that someone “walk the plank.” In “Pirates of the Caribbean: The Curse of the Black Pearl,” Johnny Depp and Keira Knightley spent almost three entire shooting days standing at the end of a long two-by-four, protruding from the side of the Black Pearl's deck, 15 feet over the rolling ocean waves. No stunt person, no body double, no look-alike or dead ringer need apply; it was Johnny and Keira balancing at the end of that plank.
“I'd been standing on that plank for two days, with nothing but air around me and water below. I was absolutely petrified,” recalls Knightley. “The plank is quite narrow like a diving board, so it bounces up and down when you move and even when you just stand there.
“When it came time to jump off the board, Gore told me I didn't have to do it, that he'd have my stunt double, Sonia, do it,” she continues. “I said, `I've been standing up here for two days! Do you really think I'm not going to jump off this thing?' So I jumped in that long dress. I was terrified. I asked Gore if he wanted me to scream and he just said, `Whatever comes out.' I screamed my head off. The only interesting bit was when I hit the water and the dress went over my head, I showed off my knickers. I was so girly, but I was proud of myself. I don't know what I must have looked like,” she laughs. Despite her initial fear, Knightley came up smiling, unscathed by the experience.
“Attempting to swim fully clothed in pirate gear with boots strapped to your legs was more difficult than I'd imagined,” agrees Johnny Depp. “The stunt work on this film was infinitely more intense than other stunts I've done, and I was dragged on the ground for blocks by a team of horses in `Sleepy Hollow!'” he jokes. “Luckily I had a great stunt double in Tony Angelotti who took care of me and made me look good. I just stepped in and made faces.”
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