Chapter 208: No Spark

To achieve the dirty and disheveled look of characters on screen, Gore Verbinski had all the extras who were about to shoot walk in circles in the vast sandy outdoor area of the Disney studio, under the sun. It was late August in Los Angeles, and the sun was still quite fierce.

This decision stemmed from Verbinski's dissatisfaction with the costumes prepared by the wardrobe department. Although they had been aged, they lacked a genuinely grubby appearance during the test shots.

Verbinski's instructions to the extras were clear: during the hot weather, they were to wear their assigned costumes under the sun for three days without removing or washing them, and they were also prohibited from showering during this period. As compensation, the extras were paid triple their usual rate.

The result was obvious. After three days under the dusty sun, the costumes were thoroughly soaked with sweat and dust, and the extras looked dirty and unkempt, perfectly resembling disheveled 17th-century commoners.

Not just the extras, but all actors in the shoot, including Matthew, wore costumes that had undergone aging treatments. The garments bore stains and signs of wear, giving the impression of genuinely used items rather than temporary costumes.

Matthew was aware that this was the desired effect for the film. In a classic period production like this, especially one not falling under the typical Disney fairy tale category, the director, producer, and production company all strived for historical accuracy, even in a film with fantasy elements.

In the era of rampant Caribbean piracy, aside from nobility, it was unlikely that people bathed daily. Who would expect a group of desperate pirates to have gleaming white teeth and well-groomed appearances?

The same principle applied to the makeup. Instead of hiding flaws or creating a clean, smooth appearance, the makeup was designed to accentuate rough and rugged features, showcasing the masculine and wild beauty inherent in the characters.

Hollywood's approach mirrors society's aesthetic preferences. Western aesthetics still favor the wild, primitive charm that originated in the industrial era.

This preference for rugged beauty is evident among top Hollywood stars. The polished, delicate look is less common than the rough and robust type.

The Walt Disney Company's significant investment in such a film indicated their confidence in its prospects. The Disney studio's resources were also prioritized for the production.

Besides the massive Stage Two for the cave and medieval town sets, Stage Three served as office and training space for the crew, and the nearby Stage Four was also allocated to the production, mainly housing the governor's mansion interior.

A week into the shooting, the crew moved from Stage Two to Stage Four to begin scenes set before the pirates breach the governor's mansion.

Matthew and Keira Knightley appeared together in a scene for the first time.

In the scene, Will Turner had just finished delivering a sword to the governor, and the crew immediately began the next shot.

Keira, dressed as an English lady, stood on a temporary wooden staircase. At the director's cue, she started descending.

The sound of her steps echoed as Matthew and the actor playing the governor looked towards her. "Elizabeth, you look beautiful," the governor said.

"Will!" Keira's eyes, however, were fixed solely on Matthew. "I'm so glad to see you."

She quickened her pace down the stairs.

Matthew looked straight at Keira as if she were his goddess, his dream lover.

Keira, ignoring her father, approached Matthew and said earnestly, "I dreamed of you last night."

"Me?" Matthew's English accent was as natural as Keira's.

"Is this appropriate?" the governor interjected.

Ignoring him, Keira continued, "Do you remember the day we met?"

"How could I forget?" Matthew's eyes never left Keira. "I couldn't forget, Miss Swann."

Keira looked back at Matthew. "How many times have I told you to call me Elizabeth?"

Their eyes locked, seemingly only aware of each other.

The scene ended there, but Verbinski shook his head and called, "Cut! Let's do it again!"

After quickly resetting, the crew began anew. However, Verbinski stopped the shoot halfway through, and after several attempts, the production paused.

Verbinski approached the set and, with patience, explained, "Matthew, Will Turner adores Elizabeth. Keira, Elizabeth is also fond of Will. They both have feelings for each other, unexpressed but known. Do you two have that effect?"

Matthew and Keira remained silent.

"You need to invest emotions, grasp the character's feelings," Verbinski continued. "Watching the footage, it feels like you're both looking at a piece of wood, not each other. You admire her, she admires you - it's that simple. Put your feelings into it!"

Giving them ten minutes to talk, he left the set.

"Have you ever acted in a romantic role before?" Matthew asked Keira.

"Yes," she replied, returning the question.

"I have, but not like this," Matthew said, referring to a more implicit portrayal of affection. "Usually, it's enough to look affectionate and act intimately with the lead actress."

Keira pouted, "The problem is, I don't feel any chemistry with you. Your muscles are too developed, your lines too rugged. You're too wild, too rough – not delicate enough for me to feel a spark."

"Hold on, Keira," Matthew protested, believing his physique was his most significant asset. "Actually, I don't feel a spark with you either."

Keira scoffed, "Excuses. You're good at action but poor in acting. Did you think I wouldn't notice?"

Their conversation, though quiet, was passionate. They looked like they were discussing their roles and acting, unaware of being overheard.

"Keira, you're too self-centered. All I see are your flaws; that's why there's no spark," Matthew retorted.

"Flaws?" Keira

stepped forward, curious yet defensive. "Do I have more flaws than you?"

"Of course," Matthew replied, mimicking her British accent. "I don't like square faces."

Keira instinctively reached to touch her face but stopped, mindful of her makeup. She was aware of her square jawline; it was why she was chosen as a body double in "Star Wars: The Phantom Menace."

Accepting this truth, she asked, "Anything else?"

"Let's not talk about that," Matthew waved his hand dismissively. "Let's focus on this scene. That's what matters."

Their initial discussion had veered off-topic.

Keira, realizing this, said bluntly, "Your acting is pretty mediocre."

Though the remark stung, Matthew knew it was true and didn't want to argue with a girl not yet eighteen.

"I'll teach you a simple method," Keira offered, intrigued by the opportunity to guide an older actor. "You've been in love before, right? Think of me as your girlfriend. Remember the feeling you had when you first pursued her, and bring that feeling into this scene. It will make a difference."

Matthew considered her advice seriously. Both he and Keira, though not formally trained, had their own ways in acting.

"Have you never been in love?" Keira asked when Matthew didn't respond.

"I have," he replied, "We can give it a try."

"Okay, then," Keira stepped back. "Just make me feel the spark, and I'll reciprocate."

As the ten minutes passed, they resumed shooting. Matthew earnestly put his feelings into the role, seeing Keira as an object of admiration. Keira, despite her average acting skills, responded differently this time compared to the previous takes.

After two more attempts, the scene was finally approved.

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