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Pirates of the Caribbean: Dead Man's Chest (2006) - movie notes

Pirates of the Caribbean: Dead Man's Chest (2006)

User Rating
80%
(797 votes)
Critic Rating
64%
(24 reviews)
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Plot Description
Soundtrack
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Popularity

Directed by
Gore Verbinski

Written by
Ted Elliott, Terry Rossio

Cast
Johnny Depp, Orlando Bloom, Keira Knightley, Jack Davenport, Bill Nighy [more]


Release Date
• USA: Jul 7, 2006

Budget $140,000,000
BoxOffice: $99.9M

Official Website:
Pirates of the Caribbean: Dead Man's Chest Website

MPAA Rating
Rated PG-13 for intense sequences of adventure violence, including frightening images.

Running Time
2 hours, 30 minutes

Country USA

Production Companies
Jerry Bruckheimer Films, Walt Disney Pictures, Second Mate Productions

Studio Buena Vista Pictures

More info on IMDb.com

Other Titles
• Pirates of the Caribbean: Dead Man's Chest (2006)
• Pirates of the Caribbean 2: Treasures of the Lost Abyss
• Dead Man's Chest
• Pirates of the Caribbean 2
• Rummty II
• P.O.T.C 2
• Pirates 2
• P.O.T.C. 2



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 Behind the Scenes

     About The Production
     A Pirate Odyssey
     On to the Caribbean
     Adventures in Dominica
     Back to the Bahamas, Hurricanes and All

A Pirate Odyssey (part 9.)

Previous page

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“Keira has at least three different looks in DEAD MAN’S CHEST,” Rose continues, “because Elizabeth is really changing and maturing as well. Keira is very gung ho and will have a go at anything, so she really took to the boy’s clothing that she wears for part of the film. She also wears a beautiful wedding gown, but we only see it drenched in the rain!”

“Having worked with Penny on ‘Pirates’ and ‘King Arthur,’ I feel like I’ve spent my life with her, and I love it,” says Knightley. She is, in the best possible way, a perfectionist. One of my favorite parts of the film is before we start, having costume fittings with Penny and seeing her in charge of hundreds and hundreds of costumes. Yet, as soon as you get into her fitting room, she just cuts right to it. If you’ve got a button that’s two millimeters out of place, Penny will move it. If something needs a bit of embroidery to be brought out, she sees it immediately. She’s a forceful lady, and one that I’m very glad to have around.”

The wedding gown is a fine example of Penny Rose’s minute attention to detail. It’s comprised of a deep-ivory silk and raffia fabric embellished with a leaf, floral and fan design. Rose used the fabric as is for the skirts, but created her own design on the bodice by cutting around and repositioning the raffia details. The stomacher (front of the dress) looks almost embroidered, with layer upon layer of this raffia design sewn into it. The veil is an ivory silk chiffon, with delicate pearls sewn into the silk, attached to a wired tiara that also contains the raffia fabric from the dress. And the petticoat of the dress was actually constructed from an antique quilted cotton bedspread from Rome!

Some of the new characters also enticed Rose to new heights of creativity. “I loved doing Tia Dalma, which was difficult, because the character lives in a swamp and she’s both glamorous and repulsive at the same time. You wouldn’t want to sit too close to her, yet we still want to feel her power as a woman. I thoroughly enjoyed it and working with the lovely Naomie Harris.”

“I absolutely love everything about how they’ve created Tia Dalma,” enthuses the beautiful Naomie Harris, who is unrecognizable in her full makeup, hair and costume as the mysterious soothsayer. “Penny’s costumes, the makeup that Ve Neill designed, the hair by Martin Samuel. I think it’s all absolutely fabulous. I didn’t recognize myself at all when I looked in the mirror, and that’s the way it should be. I love the fact that Tia Dalma is such a rugged, earthy, crazy kind of character, because I’ve never played anything like this before. It’s really liberating.”

Although the physical details of Bill Nighy’s Davy Jones would be created through computergenerated imagery, Rose nonetheless created an actual costume which served as a model for the Industrial Light & Magic artists to work from. “They photographed Bill in his costume in minute detail, because you can’t superimpose a concept onto a gray reference suit,” she says.

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