About The Production
when you put a cast and crew of over 300 people through a movie that has cramped
and claustrophobic sets, lots of water, night-time exterior shooting,
manufactured saltwater rain and open seas? This was the one question that was on
everyone's mind when principal photography began.
like we were spread all over the Mediterranean. We spent a little over 10 weeks
shooting the interiors of both the American and German submarines in Rome and
then went to Malta for all the exterior photography," explains Ms. De
insisted upon authenticity to all departments during pre-production, and the
crew delivered when it came time to shoot.
"If you do things for real, it looks real and has a certain quality. It not
only helps the visual quality on film, but it also helps the performances
because the actors have to manufacture less in their own heads about what's
going on. The more stimuli that you can give them on set, the better
performances you get."
went so far as to have retired WWII submariners on the set during every minute
of shooting to ensure the authenticity of the action.
the actors through technically complex submarine instruction, the curriculum of
which was designed by our technical advisor, Vice-Admiral Hannifin," says
agreed. Bill Paxton admits, "When I first saw the sets of these boats, I
was amazed. They went to great expense and effort to create the details of this
continues, "It's by far the best art direction I've ever seen. It was pure
realism when you saw the sets both in Rome and in Malta."
McConaughey agreed, saying that the film's realism made the acting come that
you didn't feel like you had to act; you were really reacting to what was
happening because it was all so real, from the rain and wind to the gimbal
simulating the depth charges."
Ms. De Laurentiis, "Every day was a challenge for every department and it
was demanding for Jonathan. There was a lot of homework that had to be done for
what would happen tomorrow as well as the following week. Production was a
Oliver Wood adds, "This was a very strange picture to shoot. We started off
inside the submarine where the biggest lights were 150-watt tiny little peppers.
Then when we were outside, we used gigantic Musco lights, lighting vast areas of
ocean. We went from the smallest to the biggest, making th
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