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In Search Of: Greece, 200 B.C.
"We brought a cast and crew of more than 800 people around the globe to capture a real-world scale,” states Leterrier, referring to the far-flung and varying locations utilized for "Clash of the Titans.”

De La Noy notes, "Louis had a pretty clear vision right from the outset. He didn't want to go entirely into the realm of the digital universe in terms of our world; we clearly had to have digital mythological creatures, but the world the characters inhabited, we wanted to be largely real whenever possible.”

"Clash of the Titans” did indeed shoot around the world, including some sites rarely seen on film before. The Canary Islands' Tenerife, a tourist destination off the coast of Africa, hadn't seen a major film production in over four decades.

"Unlike locations I've seen many times in movies,” says Leterrier, "this was brand new, with black and white lava, and green trees, and strange cloud formations. It felt like we were above the world, in a place that hadn't been touched by human hands.”

"The movie is set in ancient times, so we needed a virgin landscape,” asserts De La Noy who, in his earlier days as a location manager, earned the nickname "Fresh Tracks.” "I always liked that,” he continues. "I always got great satisfaction out of going someplace where no one else had been.”

Tenerife provided the production with a great variety of settings, as well as unique opportunities. De La Noy offers, "In the sequence where the statue of Zeus collapses at Argos, we were at 7,000 feet, with the helicopters flying over the top of the volcano. It was the first time that helicopters have flown over there. Our landscapes were all petrified lava streams.”

The production also utilized the surrounding ocean, most notably when the gods unleash their wrath on Argos. It is there that Perseus' family is killed while on their fishing boat. The vessel used in the film was built in England and brought to Tenerife for shooting; however, it sank when it was first put in the water. After being recovered, it had to be recorked before it was seaworthy—only to be sunk again, this time on purpose.

In the Canaries, they also shot on Gran Canaria and Lanzarote because those islands offer different backdrops. "The Canary Islands as a whole are a very important and substantial part of this movie—we got a continent's worth of looks out of a few tiny islands,” says De La Noy. One of the most dynamic features of the islands was a sea of clouds. "We were actually above the clouds. This isn't going to feel like a claustrophobic movie,” he attests.

The producer calls the cliffs of Los Gigantes a "slam-dunk” for Argos. "There was nothing quite as gratifying as my first trip down there, coming around the corner on a Zodiac, and just looking up to the heavens where these great vertical cliffs rose 300 or 400 meters out of the water. It was exactly what we had aspired to, and there it was, and I could touch it and feel it. It was just fantastic.”

Moving to the very different location of Wales, the production also shot several critical sequences, including scenes at the entrance to Hades, a confrontation between Perseus and Calibos, and the exteriors of the journeymen's visit with the Stygian Witches. Of the last, production designer Martin Laing states, "In our mythology, when the earth was created by the battling Titans, one of them died and his hand stuck out of the ground and created the environment where our witches live, up in the fingers. They spend their time patrolling the palm of the hand, so that was the look we developed.

"My idea was based on the Wales exterior and it was very dark, very slatey, with lots of misty smoke coming in,” Laing continues. He then showed his designs to Leterrier. "Out of that conversation came the idea of the hand; it grew out of the smoke. It was a<

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