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Costumes And Special Effects
Costume designer Penny Rose, who amply demonstrated her prodigious talents on both "The Curse of the Black Pearl” and "Dead Man's Chest,” went beyond the Farthest Gate on AT WORLD'S END, helping to extend the pirate world well beyond that depicted in the first two films. "We'd done Caribbean pirates to death, and now we were going to have some new ingredients,” explains Rose. "We got a lot of pictorial and editorial information about piracy in different parts of the world. I prepare the films in London, which is a very good base to do that kind of research.”

Rose and her crew literally combed the world for fabrics and materials from which to create the thousands of costumes required for AT WORLD'S END. "I spend three or four weeks intensively shopping at textile fairs, or with antique textile dealers,” she says. "I go to Rome, Madrid, Paris, New York, and buy myself a great, huge store of stuff. Then it travels everywhere we go…we have workrooms on all of the islands and locations where we shoot, so that everything is within the room. It's like I have a toy shop here, and when the actors come in I can offer them options and let them choose, because I like everything here anyway. It's really important for the actors to become involved.

"The moment in the dressing room with the actors is the high point of the work. Far more important and exhilarating to me than how much money the film makes is to send the actors away having visually found the character they're playing. That's what I'm here to do.”

For AT WORLD'S END, the story and character developments go hand in hand with their costume changes. Except, of course, for Captain Jack Sparrow. "Jack can never change,” insists Rose. "He doesn't have a closet full of clothes. He is Captain Jack, and the clothes make the man. Same with Geoffrey Rush's Captain Barbossa. So in terms of the two of them, it was simply a question of remaking more, more, more, which was in itself quite a challenge because it was difficult to find the original textiles.

"For example,” Rose continues, "Captain Jack's sash was made by a hill tribe in Turkey, and I had to send someone to Turkey to persuade that tribe to weave me some more of the sash material. Because we tried to print it on old French hemp and linen sheets, but it just wasn't the same. So the hill-tribe people made me another hundred yards.

"We see a more confident and powerful Will Turner and a new and exciting Elizabeth Swann,” informs Rose. "We've given Orlando an embossed buckskin vest, a dark, wine-colored shirt and a beautiful mudcloth coat. I think it's important that in the third film, you're slightly confused as to whose side Will is on, so we needed to help his character look a little bit darker, metaphorically. He has a rather wonderful dark, dark midnight-blue coat made out of mudcloth, which looks very romantic and mysterious.

"Keira gets to wear a Chinese courtesan costume, with a heavily jeweled and ornate headdress and matching collar piece, a tasseled vest and a completely embroidered silk gown with what would probably have been a skirt, but which, for practical reasons, we turned into a culotte so that when she gets to the fighting sequences, we could lose the vest and the other accessories and go straight into action mode.” Rose also designed an astonishing costume for the legendary Chow Yun-Fat, who portrays Captain Sao Feng, which weighed a grand total of 35 pounds in its entirety. "Yun-Fat is the Laurence Olivier of the East, and it took less than 10 minutes of the fitting to know that this fellow really knows his stuff,” says Rose. "Yun- Fat knows how to envelope himself into the character, he knew we were here to give him the visual, and he did everything possible to help us. It very quickly evolved into a joint decision-making process about what's happening in that mirror

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