WRATH OF THE TITANS
Action And Arms
"Wrath of the Titans" includes numerous epic action sequences featuring hundreds
of characters fighting, with a wide range of weapons at their disposal. Stunt
coordinator Paul Jennings and supervising armourer Nick Komornicki both worked
on the first film, and were eager to pick up where they left off, while upping
"You get to play with huge monsters and have big fights and jump around and
pretend to be gods," Jennings says. "It's exciting and it's great fun."
Jennings also enjoyed teaming with Sam Worthington again. "Sam is terrific with
action and loves to do his own stunts, and he brings a lot of his own ideas,
which helps us create compelling sequences."
This time around, though, Perseus has been living a peaceful, fight-free life,
so Worthington and the filmmakers wanted to play him as a bit of a "rusty
gunslinger. He hasn't fought for ten years, his punches aren't as efficient as
they once were and he's not as adept at swordsmanship as he used to be," the
actor observes. "I liked that he has a little catching up to do, it brought a
different dynamic to it and it was more fun for me to play. Every punch he takes
and every punch he gives hurts. He's William Munny, but at 35."
"Sam is an incredibly skillful physical actor who will throw himself against
rocks, take after take, and never complain," Liebesman laughs.
"Sam wants the action to be in his face as much as possible," Iwanyk agrees.
"The tougher it is, the more motivated he gets, and you feel it. He's up for
anything, and that empowers us as filmmakers, and sets a great tone for the rest
of the cast and crew."
"I think audiences demand it nowadays," Worthington offers, "and I want the
audience to stay with me and the film for the whole ride, so I try to do as much
as I possibly can without hurting myself."
Fortunately, Perseus did have some weapons to aid him, including the sword he
carried on his quest years ago, as well as a small wooden dagger carved by his
own son, Helius, which he brings along for luck. Komornicki and his team
provided the soldiers and gods with over 1500 arms as well, including a variety
made from lightweight aluminum, rubber, or metal inlay, and also created the
large working trebuchets for the final battle scene.
A special sword was created for the god of war. "It had a very traditional,
Bronze Age Greek blade," Komornicki says. "On the handle were the symbols for
Ares: the eagle and the woodpecker. Overall, it was fairly simple, rough and
ready, something that should look like it's been through a lot of battles." The
god also carries a fearsome piece dubbed "Ares' War Mace," which Komornicki
describes as having "a large stone top, a bronze mace shaft and a spike in the
The film's most important weapon is the symbolic and deadly Spear of Triam.
Comprised of three individual pieces Hepaestus forged for the gods, it consists
of Zeus' thunderbolt, Poseidon's trident and Hades' pitchfork. It is the only
instrument ever known to have defeated Kronos, and Perseus must somehow gather
all three pieces in order to have a chance against the Titan this time around.
In order to be more functional, Komornicki relates, "All three of the gods'
weapons can be shrunk down to small baton versions, so that if the god is not in
a dangerous situation and doesn't need the big fighting version, he can have a
compact one to carry around." Each one also had its own distinct qualities.
"Hades' pitchfork wouldn't be shiny; it had to look a bit dirty and aged.
Poseidon's trident also had to appear aged and as though it's been in sea water
for a long time. Zeus' thunderbolt was the trickiest to design, because it had
to evoke that lightning shape, but be more practical than that would actually
To enhance the moviegoers' experience of the stunts and swordplay, the
filmmakers chose to utilize a far more modern-day tool: 3D.
"We conceived the movie for 3D, choreographing shots and consulting our on-set
stereographer between takes to ensure that we'd be able to use the technology to
our greatest advantage," Liebesman states.
"We were very careful at every stage to prolong shots, make the movement more
dynamic, and avoid quick cuts," director of photography Ben Davis elaborates.
"With that in mind, and because we'd be converting in post, we were still able
to shoot in Jonathan's style, with lots of camera movement and handheld camera
work, which we couldn't have done with 3D cameras."
Davis was also happy to be shooting on film, rather than in high definition. "If
this had been a contemporary piece, then HD might have worked. But it's a Greek
epic. I wanted the texture and sensibility and realism that you get with film."
Polly Johnsen says, "Every choice we made in the scripting and planning stages
took the look and feel and 3D elements of the film into account, so that we
could bring moviegoers a thrilling, emotional, edge-of-your seat experience in
"People go to the movies to be transported to worlds they've only dreamed
about," Basil Iwanyk says. "I think that, with our creatures and our action and
our scope and scale, it's going to be exciting and immersive. The monsters and
the fire and the dust and ash of the atmosphere are going to come right out into
the audience. It'll be crazy fun."
Jonathan Liebesman adds, "When Kronos comes out of the screen, with comets of
lava flying off of him, you'll feel as though he's coming right for you."
At the same time, the director reflects, "There are a lot of powerful, emotional
themes going through the movie which I hope will speak to people, and all of
that happens in the midst of this epic war between mortals and gods and
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