Captain Phillips, a shooting in the purest documentary style

75% of ‘Captain Phillips’ was filmed in 60 days in the open sea. The decision to roll on the high seas, using the same kind of ships in which the real drama passed, led to a production full of logistics, technical, physical and psychological challenges to which the director Paul Grengrass and his team had not had to face before.

Captain Phillips It is an analysis from several points of view that director Paul Grengrass makes about the kidnapping of the American freighter Maersk Alabama, carried out by a group of Somali pirates in 2009.The film focuses on the relationship established between the officer in command of the Alabam Abdi). Faced with each other in an irreversible clash off the coast of Somalia, both men will be at the mercy of forces that escape their control.

Directed by Paul Grengrass, the film has been produced by Scott Rudin, Dana Brunetti, and Michael De Luca for Columbia Pictures. The script is from Billy Ray, based on the book A Captain’s Duty: Somali Pirates, Navy SEALs, and Dangerous Days at Sea, by Richard Phillips with Stephan Talty. Executive producers are Gregory Goodman, Eli Bush, and Kevin Spacey. Photography director Barry Ackroyd, editor Christopher Rouse, production director Paul Kirby, costume designer Mark Bridges, and composer Henry Jackman, also collaborated with Grengrass.

In the center of the confrontation between Phillips and desperate Somali pirates, Grengrass reveals the abyss that exists between those that are part of the lucrative international trade cycle, and those trapped outside it.

"In the last ten years we have seen many films, and very good, on national security and terrorism issues, but I wanted this film to treat the broader conflict that occurs in our world between those who have wealth and those who do not," Greangrass explains. "The confrontation between Phillips, who is part of the flow of the global economy, and the pirates, not, was novel and somehow, what our future will be. The confrontation between Phillips and Muse is an exciting siege in the high seas but tells us about major forces that operate in the world currently." Greangrass continues, "I have always felt that a story must have emotion and strength, but it must also make you think."

As a documentary filmmaker, Grengrass has always felt attracted by stories that deepen contemporary events, since Bloody Sunday, which deals with a massacre by the British army in Northern Ireland, to United 93, on the kidnapped flight during the 11-S in which passengers prevented the kidnappers from getting their own, going through Green Zone: Protected District, about the Iraq war. But Grengrassss is also known for being the innovative filmmaker of refreshing realism such as Bourne's ultimatum and Bourne's myth.

Filming on the high seas

75% of Captain Phillips was filmed in 60 days in open sea. "For me it has been very important to shoot this movie at sea, in a ship in operation," says Grengrass. "I started the movie with the conviction that we had to recreate the event in conditions as close as possible to those in which the events really happened. They all told me:‘ You are crazy! The directors should not roll on the high seas ’but that gives a veracity to the film that cannot be quantified."

The decision to roll on the high seas, using the same kind of ships in which the real drama passed, led to a production full of logistics, technical, physical and psychological challenges to which Grengrass and his team had not had to face before. "The search for veracity raises risks when making the film that affects everyone: director, cast and technical team," explains Grengrass. "As a film production I must confess that this has been the most arduous experience of my career. Being at sea all day, day after day, rolling in confined or open sea spaces, whipped by the tide, it was tortuous. But we did it and fulfilled the programming. In a good day both the technical and artistic team became part of a crew at the edge of a ship, all working together," "And in addition, each particular responsibility was executed wonderfully. The interpretation is incredible, the lighting is incredible, the design is incredible, the assembly is incredible. And all this adds and culminates in a final moment in which I consider that Tom Hanks offers an interpretation of amazing humanity. The memory that I will always take with me of this film is that final moment of Tom. It is simply human.

The first challenge that production faced was to find the multiple ships that are part of the story: an operating loading ship, two destructive ships of the US Navy, and a carrier. Giving with ships similar to those who participated in the royal incident, a direct mandate of Grengrass, represented a big problem, despite the disposition of Maersk Line and the US Navy to collaborate with production. "These ships are made to work, and an active ship or is transporting merchandise 24 hours a day, or, in the case of the Navy, it is waiting in case of military intervention and you cannot leave them out of service as well as so," explains producer Dana Brunetti. When Maersk Line identified a freighter that was given relatively little use, the production was put into action and moved to Malta to take advantage of its availability. "Fortunately this ship, the Maersk Alexander, was an exact specimen to the kidnapped ship, alabama. A great blow of luck for us!" Brunetti smiles.

In addition, the production was able to fix them with the crew of 22 merchant sailors of Alexander so that they continue to operate the ship during the two and a half months of filming. The Alexander captain became a vital resource for Greangrass and Hanks, showing the reality of both the operation and the human issues that suppose the day to day of the ship. "The fact of being in a real ship and having access to a real crew was an essential part of our process," says Grengrass. "We could ask them questions: what would you do, what would you say, where would you go, with what team if the situation A, B, or C." was given. "

Grengrass's commitment to likelihood was great challenges for the cast and technical team. Many times time did not accompany, making the task of shooting on the high seas almost impossible. De Luca remembers those days of filming aboard the Alexander: “Huge waves whipped the ship. The sea changes at times: from the most absolute calm to an impressive swell, so you never know what will touch you. How do you plan your sequences or harmonize you take with such a changing landscape?” Every morning the production team had to have the agility to decide if they could roll at sea or if they would have to stay in the port and roll inside the ship.

Remember Daniel Franey Malone, the Naval Coordinator of the film, which was not easy for production to maneuver in a 150 -meter freighter. "It's not like being on a tourist vessel. This ship can only navigate in certain areas, and we needed a maritime pilot and a tugboat every time we had to move it. And of course, the ship is made for containers, so it was extremely complicated to put the filmmaker," says Malone. "It is incredibly claustrophobic. The corridors and stairs are very narrow and the team had to be very conservative when choosing what they brought on board. The constant movement from one part to another of the ship, from the lower levels to the bridge, believe me, it was not easy to move the equipment on those stairs."

In addition to the claustrophobia and the limitations of working on a ship, the challenge of the production of coordinating and shooting in multiple ships in the open sea was added. "The production team includes hundreds of people and equipment: actors, costumes, makeup, cameras and decorations," explains Grengrass. "Locating all that on the high seas is a logistics adventure. It entails dozens and dozens of ships, and you also need safety. Production was like a flotilla, and I felt the commander of the crew."

One of the most dramatic scenes of the film is the approach to Alabama. This scene was shot without the use of computer animation. "One of the most important milestones of all the filming was the technical and security aspect of bringing a skim to a freighter. On board the skip there are four actors and the ship's hangover is considerable," says Grengrass. "Approaching enough to support a ladder and execute the approach maneuver was an arduous and slow process. Security was the highest priority. But in the film it gives the feeling that they are really there, they are next to the ship and they will climb, because it really happened like this."

To prepare the sequence, the four men who embody the Somali pirates: Barkhad Abdi, Barkhad Abdirahman, Fayesal Ahmed, and Mahat M. Ali, initiated a rigorous training regime. "Paul told us not to look for actors - I wanted us to become pirates," says Abdi. "I didn't know how to swim and I learned to climb. Fear was not an option. When I got on that ladder 30 meters from the water, I thought: I have to get up!"

Abdi, Abdirahman, Ahmed and Ali also had to learn to manned the pirate skifs as if they had done it from kids. "We spent weeks taking the boys in the skifs to learn to manned them and, believe me, it is not easy. Those boats are complicated," says Grengrass. "Then we moved to the high seas to teach them to stand in a movement in motion. And you can imagine how those boats move when the sea raging. The challenge was to do everything safely. And then, find out how to roll it, of course."

That responsibility was assumed by photography director Barry Ackroyed, BSC, who explains: "For the scenes of the skifs we had to build a small crane with scaffolding to tie the camera, because when the waves were built those skifs jumped with violence and we could not run the risk of the camera jumping through the board."

But without a doubt the most complicated scene of organizing was the decisive scene in which the Navy effects the rescue of Phillips. Grengrass calls it: "The most complex and difficult sequence" of her career: "There were multiple ships of the Navy swarming there, several helicopters, and many safety risks. How to direct a set of these dimensions and represent the action that is covered: a small aircraft carrier, several destructive ships, and multiple helicopters bombarding a small life jacket in the dark About the water?

The American army was as willing as Maersk to participate in the film. But, as in the merchant ships of Maersk, to find the ships they needed they had to start a long and delicate negotiation. Brunetti points out: “The Navy wanted to participate from the first moment because the film reflects them as serious professionals, and I think they consider that it is a faithful representation of their work form. But, like the maersk, their commissioned ships have functions to fulf We made the film without them, without their support; our representation of the body would not be so robust.

The solution was possible once again, thanks to the flexibility and adaptability of the production team. "A high -ranking admiral met with us in Los Angeles and made me a promise:‘ If you move the production to Norfolk, Virginia, I will get everything you need. "Those were his words," says executive producer Gregory Goodman, who coordinated many of the logistics challenges of filming. “We had not occurred to us to go to Norfolk because it is not a film production center… everything necessary to roll would have to bring it from the outside and, due to the distance, you cannot count on suppliers in the area. But, after analyzing our options, we saw it clear: Norfolk, which was a task of enormous proportions, turned out to be a wonderful place to roll. ”

To represent USS Bainbridge, the filmmakers received access to USS Truxtun, a 155 -meter class destroyer Arleight Burke equipped with missiles. Brunetti recounts: "The Truxtun had recently been renovated and was responsible for overcoming several nautical tests, including minor maneuvers, for a period of two months. We were assigned to that mission." Throughout filming the destroyer remained active, prepared to respond in emergency missions. The two additional ships that lent their support to the Bainbridge during the real-life mission-the USS Boxer, an amphibious operations assault ship that is part of the anti-piratería operating group of the Navy, and the USS Halyburton, were represented, respectively, by the USS WASP, a multi-purpose amphibious assault ship, and Hoyburton himself. Both ships were intended for Norfolk Naval Station.

Moving these Navy ships is a complicated, dangerous and difficult task. And for a production team, destroyers are even more inhospitable home than the cargo ship. Brunetti explains: “The Navy ships have to operate 11 kilometers from the port and the entrance and exit maneuver of the port is very difficult and it takes hours. That is why we chose to move our team into small boats: about fifteen to twenty people in seven or eight vessels. We embark on a port of Norfolk and we went to meet the ships of the Navy, which were waiting for us to embark on one.

Grengrass thanks the Navy to “be involved in body and soul in the film. From the Halyburton captain and the second of the reality.

Getting the support of the Navy meant only the first step of the filming of the rescue sequence. The producer Dana Brunetti adds: “In that scene we have a lot They were creating an international trail to make waves on the ship.

Goodman deepens the logistics challenges associated with that decisive scene: “The lifeboat advances very slowly, about two or three knots. That speed is below the safe operational limit for the ships of the Navy. If they go at that speed the engine can be heated, so we had to play the cat and the mouse to find the necessary synchronization so that all the ships were really complicated. mathematical problem. " What the filmmakers did not know is that in this case art imitated reality since the USS Bainbridge experienced the same problem during the rescue in the real life of Captain Phillips: the destroyer advanced to the lifeboat.

The culminating moment of the film (set at sea, on closed night) also meant a huge challenge for Ackroyd, the director of photography. Getting these sequences required an extraordinary coordination, coordination, synchronization and professionalism, and also a little luck. In Ackroyed's words: “We shot these night sequences on American night, at dusk and at night. Each scene is a combination of these three techniques together in one. We had a camera in the lifeboat, I was in an inflatable boat with another, the third was in the destructive, and the fourth camera in the second helicopter, located to capture the first helicopter. lifeboat and you have to turn and stop sharply in front of the lifeguard, and we have to roll that simultaneously from my camera, from the destroyer, from the air, and from the inside of the lifeboat, where the camera looks out from a space that measures half a meter wide per meter per meter Stop because the twilight changes and suddenly you are rolling at night.

Although production had to face great challenges and overcome technical difficulties, they all did by the hand, encouraged by a group spirit inspired by Paul Grengrass and Tom Hanks. Luca's producer points out: “Tom was willing to everything. He never doubted anything we asked for. For example, he was in that lifeboat in the open sea for hours, for days. He was exhausting and required large doses of perseverance of all the parties involved. And Tom did not complain once, despite the inevitable and constant dizziness that he suffered both he and other members of the distribution of that distribution. I think that attitude, that spirit infected everyone and accompanied us during production. "

"This is to make cinema in your purest state. I have had a lot, a lot of luck to participate. I will always take this memory with me," says Goodman. "We were all focused on the same goal." ACKROYD states his agreement: “As director of photography when you see a script that says.‘ Night - Closed Night - On the high seas ’you think twice before saying yes to the project - unless it is Paul Grengrass who asks you for it. When you sign for a Grengrass movie it is because you know that the effort will be worth it, that the argument will be shocking and the work, recognized. They carry something that has not contributed any other movie.

Photography and design

To provide a Captain Phillips Of the intensity and realism that characterize Paul Grengrass films, the director incorporated a photography team headed by photography director Barry Ackroyd, BSC. ACKROYD is a Greangrass collaborator and was its photography director in United 93 and in Green Zone: Protected District, as well as in On hostile land Kathryn Bigelow, for which he was nominated for an Oscar.

Grengrass and Ackroyd come from the documentary tradition and both agree that there are certain habits of non -fiction cinema that have not yet been able to abandon - and that has demonstrated their usefulness in the production of their feature films. ACKROYD says that "in a feature film you have many more shots and many more opportunities to capture a scene than in the documentaries", "so you always remember yourself the urgency and importance of each frame. If you repeat yourself that each frame is the only opportunity in which this will happen, and that it will be the most important frame of the feature film - and if you manage to maintain that concentration in even more than 300 kilometers of movie - then You will give the editor the best material in your hand to edit the best movie. ”

Grengrass agrees, highlighting that this shooting style goes hand in hand with the type of interaction that he wants the actors to have with the material. “The instinct of what is urgent, what is real, is never lost. We work hard with the actors to get them not only to interpret the script; the script is important but we also want the actors to be in harmony with - and to examine for themselves - each situation and the inherent motivations of the characters in each scene. And when leading the actors to that place, where they are interpreting and inhabited the immediacy of the scene, That intensity, the looks, the moments. ”

Producer Dana Brunetti says that Ackroyd's shooting style not only perfects the direction of Grengrass, but also lends itself to this particular film due to its exteriors. "Paul and Barry rolled in a style in which the present moment, the urgent and real- a lot of camera in hand, without mobile platforms- all this is extremely appropriate to tell the story of a crisis with hostages and specially adapted to roll on a boring ship," Brunetti stands out. "The spaces of the ship are very small and limited and the corridors and stairs are incredibly narrow. Barry placed that camera on their shoulders and ran from end to end following the actors, wielding the camera in all directions, from top to bottom and from left to right. In the case of the lifeboat, of even smaller dimensions, the important thing was to find the details and the intensity of that space."

Grengrass adds that rolling in these spaces was a huge challenge both visual and physical - which demanded that ACKROYD be extremely flexible. "Before starting the production Barry and I argued long and lying on the creation of an aesthetic for Captain Phillips that was very sober and was focused on the characters," says the director. "As the film progresses you have an increasingly reduced space - so the visual challenge is to maintain the vitality and interest of those small spaces. That sometimes means that Barry must adopt uncomfortable and absurd postures to maneuver with very little space. I don't think I could have made this film if I didn't practice yoga."

For Ackroyd it was common to have two or three cameras working on each scene. On the acckroyd bolt ship, the camera was placed on the shoulders while another camera operator, Cosmo Campbell, manipulated a special fixed camera of short arm that allowed him to pass between screens and small spaces. Grengrass and Ackroyd do not limit the space where the scenes take place, so the actors have the freedom to move where they want and follow the handmade cameras. That is why it is very normal for the actors to go up and lower stairs and enter and leave the rooms with the camera team in their heels.

ACKROYD has observed that this way of working releases the actors. "Once you stop asking the actors to interpret for the camera, you give them a kind of freedom. Even in a reduced space such as the lifeboat we told them,‘ id where you want and we will follow you. " The camera is glad.

In your collaboration in United 93, Grengrass and Ackroyd experienced with various techniques aimed at that both the actors working on the set, and the spectators in the cinema, would forget the presence of the camera. They took those methods one step further in Captain Phillips. "Both Paul and I felt that if we did our job well, our presence would barely be noticed by the actors," says ACKROYD. "Our goal in this film was for the camera to simply be an observer and as faithful as possible. At the same time, we were not making a documentary. Rather, the style is a kind of extreme realism that allows the audience to see many perspectives at every moment and in the decisions that the characters are making. We look for humanity in the plane."

Hanks says he was inspired by the authenticity and immediacy of the shooting style of Grengrass and Ackroyd and that the result has been one of the most enriching experiences of his career. "One of the questions I asked Paul on this set was‘ Where is the camera? ’, Because I never saw it," says Hanks. "They are committed to capturing the behavior of real people at specific times and I think that Paul's disposition to discover the film as we filmed allowed him to capture the full reality of history."

Ackroyd's photography in the film also makes an optimal use of natural light. He explains: “Whenever I can ring with natural light because you can roll in 360 degrees. Having to illuminate plane plane is like putting a shirt of force to the camera and the chamber operator. Instead we plan our scenes as a solar clock, following the movement of the sun. We had a narrow loading path through which to move, so, unlike rolling in a fixed place, we could alter the course, turn and get the same direction in the same direction in the same direction in the same direction. The ship, regardless of the course we took. became an authentic expert. ”

In the early phases of Preproduction Ackroyd decided to use 35 millimeter cameras, mainly using the Aaton Penelope, desired by those who want to work camera in hand and used in many documentaries. The Aaton allowed Ackroyd to move quickly through the narrow ladder and passageways of the ship. "When wheels in digital format in most cases you only try to reproduce the aesthetics of the film. In addition, when we saw the conditions in which we would have to roll: you get on a skimp pirates with elastic strings, you splash the waves of the merchant ship, the digital cameras did not make much sense in this context," says ACKROYD. "Photographic film cameras are over a hundred years old. It is a simple and classic technology. That is why cars still use combustion engines - because they work."

Ackroyd also used 16 millimeter photographic movie cameras for scenes centered on Somali pirates. "I thought that the granulated and 16mm texture would work well and that is, but the real reason I chose it was because in a 16mm format I could choose a zoom of 12: 1," he explains enthusiastically. “With the 12: 1 zoom I could obtain a wide plan inside the skim other".

But we must not forget the small lifeboat, in which Richard Phillips descends only with his four captors. The production used several replicas of the lifeboat 8 and a half meters long from Alabama, all equally uncomfortable. "That type of lifeboat navigates like a spaghetti bowl," explains Naval Coordinator Daniel Franey Malone. "It moves a lot. It is unstable and easily swings. It is incredibly difficult to roll there."

Grengrass and Ackroyd say that the lifeboat was one of the most implacable shooting spaces that have ever experienced. "The lifeboat is incredibly narrow," says the director. "The heat is intense. The dizziness are intense. The thing is inclined on each axis. We had to get those inside with some frequency."

ACKROYD managed the camera himself in the lifeboat, as he did in most scenes, putting his body on the front line for the film. But he doesn't care about the fight, he likes it. "This is how I know I'm alive," he says. "All physical aspects, discomfort and pain ... I like to fight or the feeling of struggle. If things were easier, I think we may not be achieving what we could achieve. If there is no fight, I do not feel satisfied."

"Barry is brave as few," says Greangrass. "By forcing the view through that lens, it was constantly dizzy, but watching the film or found out. I have no idea how he maintained the stability and coherence of the image."

The work of Production Director Paul Kirby, who worked with Greangrass and Ackroyd in Green Zone: Protected District, gave a more twist to the aesthetics and feeling captain Phillips. "Paul Kirby's production was supposed to in this feature film would be‘ invisible. " “But the‘ invisible ’style is extremely difficult. The public knows when he sees something false, although he cannot point it out. In addition, Paul faced immense logistics problems, of which it was not the least to find, produce and build a Somali village in which the film starts. He did that and more, he made him fit perfectly with the rest of the feature film.

Grengrass commissioned Kirby the task of producing four different worlds for the film: the Somali people, the boring ship, the lifeboat and the Navy ship. "I tried to produce scenarios that will perfectly gather the real world and the imaginary world," explains Kirby. He adds, "in this feature film we are going from the broadest - the huge bolle Kirby.

"We wanted the public to feel that route that leads us to the soul of Captain Phillips. Even if they are not aware of it, they will feel it and remember it the next day. And I hope it remains with them."

Another challenge for Kirby was to design skifs that Somali pirates use to attack Alabama. "The skifs had to look like boats from a Somali village, but they had to be completely suitable for navigating and insurance for actors in every way, even under very adverse conditions," says Kirby. Within the boat, Kirby and the team of specialists prepared skimp with straps and support points designed to help actors maneuver in a boat whipped by waves. He also exaggerated the bow of boats, a subtle way of enhancing tension. "We wanted the Pirate Esquife to look and feel like a weapon when cutting the water."

The costume designer Mark Bridges, winner of an Oscar® by The Artist, began his work by doing a formidable amount of research, not only reviewing the original news of the kidnapping, but also exploring maritime traditions both Somali and American. I wanted costumes to reflect the likelihood that Grengrass pursued.

Eyl, the Somali village that we see at the beginning of the film is traditionally a fishing port; The men there usually wear shorts or rolled pants that leave their ankles in the air and a specific type of sandals. Bridges and his team created twelve copies of the changing rooms for each pirate. "He had a month for all sandals, shorts, t -shirts and jackets from each costumes to be worn enough for use," he explains. During production, Bridges and his team had to remain in a state of constant surveillance, or their month of work would literally take the current. "We underestimated the force of seawater, eliminated much of the dirt and wear that we already thought permanent in the garments. I could see it. I watched a garment and stopped me:‘ That has changed color. We will return it to the workshop. Somali village) and were useful as a point of reference when renewing the costumes that had lost its worn appearance. ”

"As for the maersk crew wardrobe we interviewed Richard Phillips and Maersk officers to determine what Phillips would lead to his arrival at Puerto versus what he would wear after embarking," Bridges recalls. When we first see Phillips when taking command of Alabama wears his captain's uniform (the same merchant marine uniform, indicating his range, that Phillips would have put on). The research on the clothing that Maersk provided in the 2009 period revealed a technical but important detail: the Maersk monkeys that the alabama crew dressed in 2009 were of cotton one hundred percent but recently they began to manufacture them in a mixture of cotton with polyester - a significant difference because cotton with polyester does not aging well, making it difficult to give the task of giving the uniform the uniform that the period required. "We were lucky to find a contact in Maersk with cotton stock. The monkeys of that time were cotton and those aging well, allowing us to give the locker room a real feeling of use that was authentic for work clothes on the ship at that time."
For filming, the movie team used cameras Aton (Penelope y XTR Prod), ARRI Alexa, ARRIFlex (235 y 435), y Canon Them C300.

Mounting

Paul Grengrass's work with his editor, co -producer and collaborator of many years Christopher Rouse, began long before a single shot was filmed, while the director was working with screenwriter Billy Ray to shape the script. Winner of an Oscar award for his work in Bourne's ultimatum, Rouse says: “Paul and I spent more time together during the development of the script and in preproduction processes in Captain Phillips than never before. We kept regular sessions to comment on the story while the script evolved; we spent months talking about each aspect of each scene in the movie. For action scenes we create graphic scripts and animatics, so that Paul had pre-visualized scenes before production. From that our process is the same: we distinguish between action sequences and dialogue sequences, ”says Rouse. “Not only is it the kinetics of an action scene, we also analyze how the action supports the story and the character. We get into the integral details: who are the characters, how are their objectives, and which their obstacles are. Before going out, Paul had examined the script thorough They were resolved even before the cameras began to roll. ”

As an example, Rouse cites the structure of the first part of the film, which balances the perspectives of Phillips and Muse. It was important for Greangrass intertwining the stories of both. Rouse explains: "The film represents each man as a victim of the circumstances. It was essential to achieve an appropriate balance between the perspectives of the two characters and we had to discuss Paul, Billy and me to find the correct balance." The scriptwriter Billy Ray adds: "It was important for all of us not to allow Muse to end as a cartoon of a villain; despite Muse's aggression and the potential to be violent, Paul did not cease to look for moments of real vulnerability."

In reference to the screenwriter's process - from the script, to the set, to the editing room: Greangrass adds: “Billy devised the fundamental markers of the film: the characters, the narrative, the meaning of the pieces of the stage - he transmitted the essence of all this. But at a certain point we had to do to the sea to roll and involve the actors. When rolling in the sea The event of the most reliable way we could, we contributed to the feature film a sensation of immediacy that we could not have prepared. "It is not just a movie, it is something that is really happening in front of them, and that is when you have that feeling of urgency, that feeling of emotion. And then, Chris can take the material that I record and create the correct tempo, balance the views, make sure that Phillips remains in the center of history ... He creates the template that unites everything. The relationship between script, filming, and editing, and editing.

Having worked with Greangrass in United 93, Green Zone: Protected District And the movies BourneRouse has become accustomed to intuiting the constant movements of the Grengrass Chamber and to create, from those movements, an editing rhythm that catches you; That plays a great role in the architecture of Captain Phillips.

"Paul and Barry's style to move the camera instantly provides a scene with emotion and crudeness," says Rouse. “The camera in motion creates tension, gives great dynamism to the action sequences and also supports the way Paul works with the actors infusing visually speech scenes sometimes improvised. In the edition, I consider the movement of the camera as another element that marks the rhythm of the scene, trying to feel it and shape each cut as it would do with the rhythms of the dialogue. In terms of rhythm. In detail.

In the editing room, Rouse and Grengrass were able to incessantly increase the tension of the film, despite the fact that the action continues to compress in increasingly narrow spaces. "It is intrinsically tense, the power of the US Navy is surrounding this tiny lifeboat in the middle of the ocean," says Rouse. "We were a long time with these scenes, both on paper and in the editing room. Particularly the decisive sequence at the end of the film, which ends with the snipes of the Seal Group. The elaboration of that scene took months."

Rouse explains with more details: “On the final reel the action reaches a climax: the lifeboat has just been beaten by the waves of the huge wars The boat.

“Building this was complicated because we had to join several threads. We had worked the entire film to reach this point and then we wondered how do we unite all the convergent elements to create a powerful and exciting culminating point that in turn retains the songs with more character and the deepest and most nuanced of the film?

“Paul wanted Phillips to be desperate and active in this sequence to build the emotion in the strongest possible way in the writing of the Phillips letter. My goal was Najee, taking the pen later looking for paper). realizing that the writing of the Phillips letter presaged something significant.

“During all this, it was crucial to show the huge scale and scope of the maneuvers of the warship and, equally important, their effects on the characters, especially Phillips, who realizes that the Navy is taking the situation to an outcome and consequently decides to write the letter. We also had to conve With a false promise that, once accepted, leads to the sequence at the end.

"We were trying to find the correct balance. It was not a simple proposal, but I think we were able to do so, increase the tension while we remained faithful to the deepest dramatic elements that support the sequence."

As the film intensified, cape by cape, towards its final catharsis, Grenngrass felt Rouse and he were in perfect synchrony. "Chris did an incredible job. The sense of emotion he cultivated and the way he has shown the characters make their editing work really beautiful," says Grengrass.

[youtube]http://www.youtube.com/watch?v=Kg-z22xuMRM[/youtube]