The artists talk about using sound design and music to sculpt the three
different battle sequences that comprise the film's second half, the challenges of using period - accurate weaponry, and how the sound of breathing can take you inside the main character's experience.
The artists talk about using sound design and music to sculpt the three
different battle sequences which comprise the film's second half, the challenges of using period accurate weaponry, and how the sound of breathing can take you inside the main character's experience.
Not exact matches
This lends itself to the action
sequences, as the environments add varied aesthetics and
different personalities to the onslaught of fistfights, gun
battles and car chases.
Before getting into how spectacular the action
sequences truly are (and trust me, they save the blockbuster from plundering to the bottom of the ocean), it must be said that Oscar - nominated Kon - Tiki directors Joachim Ronning and Espen Sandberg have no idea whose story the movie should actually belong to, starting out as Henry Turner's (Brenton Thwaites) quest to free his cursed father at sea Will Turner (Orlando Bloom in a glorified cameo along with Keira Knightley as his partner Elizabeth Swann) to locate the Trident of Poseidon subsequently lifting that curse, and while the ultimate goal of the movie for all characters is finding said artifact for
different reasons, by the end it's hard to fault the audience if they have forgotten all about that plot element and are just living in the moment of Jack Sparrow and company
battling an army of decomposing, undead ghost pirates led by Captain Salazar.
However, instead of joining the family just as they're throwing on their masks to do
battle with this ground - dwelling villain, we get this
sequence from a
different perspective.
The same scenario played out along slightly
different lines in 1999 when Saving Private Ryan — whose
battle sequences transposed some of Platoon's brutal modernism to the context of World War II — earned Steven Spielberg a second Best Director Oscar but the film was upset in the Best Picture category by Shakespeare in Love, a film whose virtues were perceived to be more literary than visual.
Disc two is where a majority of the extras can be found, including 18 - minutes of deleted and extended scenes (as well as an alternate ending where Matthew McConaughey's character doesn't get away), four
different production featurettes ranging from the making of the opening
battle sequence («The Hot LZ») to special effects («Blowing Shit Up») and production design («Designing the Thunder»), and a cast featurette made up almost entirely of behind - the - scenes antics.
Three
different game modes: Enjoy scenario mode with single - player style RPG
sequences, mission mode with traditional MMORPG questing or
battle mode with full - on player vs. player action.