A complete analysis of The Three Musketeers, interviews with the director Paul W.S. Anderson, producers and the cast, and overview of the movie, was published in LAHIGUERA.NET Here is the translation from the original article in Spanish.
Translation: Microsoft Word.
The Three Musketeers filming began on August 26, 2010 outside of Bavaria, Germany. The film, produced by Jeremy Bolt and Robert Kulzer, Constantin Film and Impact Pictures is directed and produced by Paul W.S. Anderson. Martin Moszkowicz, Constantin film, exercises of executive producer.
The film, based on the historical novel by Alexandre Dumas, Père, has been adapted for the big screen by Andrew Davies (Bridget Jones's diary) and Alex Litvak (Predators). Other key members of the creative team included production designer Paul Austerberry (the twilight Saga: Eclipse), Pierre Yves Gayraud costume designer (perfume: story of a murderer) and the director of photography Glen MacPherson (Resident Evil: afterlife).
The stellar cast is headed by Logan Lerman (Percy Jackson and the Lightning Thief), who plays the young and idealistic d'Artagnan, Matthew Macfadyen (pride and prejudice, Robin Hood), Ray Stevenson ("Rome", the book of Eli, Thor) and Luke Evans (Immortals, clash of the Titans) interpret the three veterans Musketeers, already tired of the war, Athos, Porthos and Aramis, respectively. The winner of the Oscar ® Christoph Waltz (damned bastards, The Green Hornet (the Green Hornet)) plays the intriguing Cardinal Richelieu, Milla Jovovich (Resident Evil, the fifth element) is the beautiful but deadly triple agent Milady de Winter, and Orlando Bloom (Pirates of the Caribbean, the Lord of the rings) interprets the English Duke of Buckingham.
The cast is rounded out with stars rising Juno Temple (the other Boleyn Girl, diary of a scandal) and Freddie Fox (St Trinian's 2: The Legend of Fritton's Gold) as Queen Anne and King Louis, respectively. Gabriella Wilde (St Trinian's 2: The Legend of Fritton's Gold) plays the beautiful and ingenious Constance. James corder (the travels of Gulliver), British comedian and star of the television in his country, is Planchet, the servant of the young musketeer. Mads Mikkelsen (Casino Royale, clash of the Titans) played the nemesis of d'Artagnan, Rochefort, the ruthless captain of the guard of the cardinal.
A new cast for a classic story
Robert Kulzer and Jeremy Bolt meets with the director and his partner Paul W.S. Anderson production to create the three Musketeers. As the characters that give name to the film, these three filmmakers go back to work together, this time to deal with a historical fiction, something quite different to what we are accustomed in his latest collaborations.
Says Kulzer: "Paul and I have done many films together, generally full of zombies, monsters and forces of evil." However, I think that we are finally beginning to mature, Paul has been married and has even had a daughter, Ever. Paul is a father very dedicated, and in my opinion, Ever has no doubt influenced by his attempt to diversify and try something new. "But I think that all were that this was a fantastic opportunity for Paul to show an aspect of his work and his skills that it goes beyond being a mere action film director, and shows that it is really someone who can rely on a love affair with humour and much spirit".
The selection of the cast of any film is always a crucial element in ensuring the success of the same, but the process takes on special importance when it comes to embody such popular characters, doing a history classic and well known by all.
"This film was a major challenge with regard to the cast, because all the actors have to be funny, should be charming and also need to be able to tackle respective problems loving of each of its characters." The story also requires many of them flying through the air, fight sword, mount a horse, aircraft, etc. "So that each actor had to be able to exhibit a wide range of abilities and talents", notes Kulzer.
Logan Lerman was the first actor to be elected to the role of d'Artagnan. Lerman said: "d" Artagnan is the symbolic character full of youth and moral values which serves to rekindle the passion of the Musketeers and make them come out of retirement. " At the beginning of the film, when he leaves his hometown, is a boy naive and some cock. "Get a good dose of reality when it comes to the big city and meets the most immoral people".
Bolt says: "We decided to show d'Artagnan as is represented in the book, where it is a boy of 17 or 18 years." It is very smart and, not only physically is a great athlete and a great swordsman, but is also highly intelligent and has people skills. Logan is a very smart and very committed young. We put it to work with an excellent teacher of fencing/choreographer and it has become a great athlete. It also has a very nice look and seemed very important that our d'Artagnan has that quality of 'man in the street'. It is a boy from the village of Gascony; "is basically a gift anyone who changes the world".
Lerman was delighted by the opportunity to work with director Paul W.S. Anderson. According to notes: "Work with Paul and his team has been much collaboration experience." It's nice to have voice and vote on your character and make small adjustments to feel comfortable with each scene. "Paul always showed very accessible and receptive to new ideas".
Also was equally delighted to work with the actors who were choosing to be their co-stars, the three Musketeers. But the first meeting of his alter-ego with them not out precisely as expected. When you know the three Musketeers, the time takes a great disappointment with them. He believed that they would be heroic types, but in reality they are nothing more than drunken boring and without direction in life. "D" Artagnan changed their lives, earn their respect and back them together ".
Choose the three Musketeers was actually a fairly simple process, because each of the characters describes very clearly and feature on the Dumas novel; the mysterious Aramis, the immeasurable Porthos and the melancholic Athos.
"Had to be a good balance between these actors, because the Musketeers are all equal, even they have approximately the same number of pages each in the novel." Matthew Macfadyen is sensational in the role of Athos, has a certain grace and elegance, with a worrying underlying violence. Porthos is full of passion and exuberance, you close heavily between his arms and is always with beer and wine, and Ray [Stevenson] provides that physical presence. "Luke Evans as Aramis is extremely handsome, but at the same time possesses a dark and mysterious quality", points Bolt.
Matthew Macfadyen was chosen to play the bereaved but overflowing talent Athos. Producer Robert Kulzer draws on the actor: "Magnificently plays the role of Athos, with elegance and dignity, but also with a background hardly content of violence and brutality".
MacFadyen appreciates his character and particularly appreciated his depth: "Athos has been betrayed by his beloved, Milady, who sold them both to him and his friends to the Duke of Buckingham." As a result, Athos is very bad-tempered and little communicative. "It is a rather dark character, that baby to hide his disappointment".
But, when d'Artagnan arrives at Paris, Athos recognized therein all the ideals of his own youth. "Are fond instinctively with d'Artagnan because I think he sees echoes of yourself in this young man, I think all the Musketeers to do so." D'Artagnan is full of life and exuberance, something that happens already to Athos, he has already seen and done everything, is on the decline. "The relationship that develops with d'Artagnan becomes very fatherly, is a touching story".
Despite being close friends, each of the Musketeers has a very different personality. Luke Evans, chosen to interpret Aramis, and a big fan of the story as a child, speaks of the characters the Musketeers and the respective relationships they establish each of them with the young d'Artagnan in the film. "We all have our own relationship with d'Artagnan." My character, Aramis, becomes a sort of brother for him. He sees this young kid who thought invincible and can dominate the world and sees their mistakes. At Aramis you like d'Artagnan and cares for him very brotherly way, although sometimes the youthful bluster of d'Artagnan be something underlying. Athos is the father figure, a father madly in love and disappointed, reflected in d'Artagnan. And then we have to Porthos, which is like the uncle of big heart, always despeinando and giving it a little stronger we Pats on the back. "We all have our place".
"After reaching Paris and inform the Musketeers, d'Artagnan begins to grow as a person." It progresses much throughout the film, it is her rite of transition. A young boy that has its sights set very high and receives a lesson. He falls madly in love and realizes that has to take very important decisions, so mature a lot. All mature throughout the film. D'Artagnan resurrects the spirit of camaraderie, brotherhood and pride for who we are. "Ultimately, d'Artagnan wins his place, works hard to achieve this and, just at the end, becoming the fourth musketeer".
Producer Robert Kulzer at Luke Evans considered the ideal candidate for Aramis. "It is a handsome, but also a dark and mysterious side he brings to his role."
Evans explained: "Aramis was priest and you can see him often reading the Bible or using his rosary." It is a faithful and a great friend, books not betrays never anyone. Pray for each and every one of the persons who have been killed in combat. As a musketeer, Aramis is a very quiet individual and when they fight, is lethal but graceful and agile. "It's like a Batman of the 17TH century".
Ray Stevenson plays the immeasurable musketeer Porthos. On the work of documentation during pre-production and how that helped him shape his version of the character, Stevenson says: "In this film had some creative license to devise some past of our characters history." Porthos has a different fighting style, has a particular form of dress and a different attitude towards life, but ultimately has some DNA that makes him a musketeer; that something indefinable which binds together the Musketeers. "It was fun to have the opportunity to play with these ideas".
As a musketeer, Stevenson had to take part in many of the sequences of fight of the film, which was prepared with the German champion of Europe and gold medal, Imke Duplitzer. Stevenson points out on his instructor: "Imke was wonderful and we had good luck to forward to it." To shoot scenes in 3D, camera covers everything, so everything you do during a fight has to be very measured. The discipline of the sequences of fight when 3D wheel is at a much higher level. "You can not forget that you are wielding a large piece of metal that you try to drive him to someone, so you have to be much more concentrated than if you were filming in the normal 2D".
The international stars Orlando Bloom, Milla Jovovich and Christoph Waltz also joined the cast. According to admits Bolt: "Paul and me we love subvert the expectations of the viewer and make an actor to interpret a role completely different to the type of character that is expected of him, so here you can see Orlando playing a villain: the astute and rogue Duke of Buckingham." You expect to find you the typical's, but you'll find a very mischievous and ladino type. "I think that we are the first to do something like this with Orlando".
Orlando Bloom is the shadowy Duke of Buckingham. "The history of the Musketeers is very famous and certainly exceptional." I feel like my entire career has been as a kind of journey which I have been making all the dreams of my childhood, and this film certainly contributes to this process. One of the things that attracted me most of the project was that the character of Buckingham was a very different role for me. I have the opportunity to be a Rascal rogue. Buckingham is not the enemy, but is also a true rogue. As soon as I read the script, I knew that was going to be great fun and a great show. I think that there is always place in cinemas for a film that people can go to see and enjoy it without more. It's a film for Marvel and be carried away. "In addition, was eager to work with Paul Anderson after hearing the ideas he had for the film".
Bloom describes his character as follows: "the Duke of Buckingham was the courtier more rich during the reign of his Majesty, James I and behaves like a spoiled brat." It's like a Peacock who likes to show off and showing off. When Paul and I talked about the role, told me to think in more rolled rock stars of our time: David Bowie, Jim Morrison, Mick Jagger... Buckingham is like a rock star. This is not the typical film of the Musketeers where the public expects to find, because it is not taking seriously itself. There are lot of humor, wit and self-assurance in this version. Buckingham appears, has some great moments where the weapon a nice mess with all the key characters and turns to leave. "It's been fun".
Milla Jovovich is a big fan of the Dumas stories since she was a child. Their attraction to the role of long tradition of Milady Winter explains: "for me, the three Musketeers is the classic fun book and full of action that you can not read once start." "Dumas was a fantastic writer, each chapter leaves you hanging, desiring to know what will happen next".
"I was involved from the outset, Paul [Anderson] began to work with Andrew Davies to write the screenplay for the film." Milady is one of my favorite characters in historical literature. "I was delighted with the fact that Paul was trying to prove something else as a filmmaker and that I might also have the opportunity to play a character as representative".
Jovovich talks about Milady as character and on how personifies the qualities of the current strong and independent woman: "have always seen to Milady as one of the most modern women literature." She is single, he is incredibly intelligent and able to enter and leave different societies without apparent effort. We need to be a woman very strong and very ready to move in a world of men, especially in the 17TH century, when a woman could lock her in a convent or in an insane asylum for showing responsive with her husband. "Being a woman intelligent enough to handle these men is quite an achievement".
On the darker side of Milady, Jovovich said: "I am very proud to play this role, for me, is not simply to make bad." It is true, do not always play by the rules, but it is that she is not a normal woman. It is not just a pretty face who stays seated, waiting for men to do things. There is no doubt that lies, misleading and steals, but that is what all men do also! The only difference is that she is a woman. I sympathize much with her. "They branded her as evil, but I respect how to live your life".
Bolt says: "mile transmits an incredible force, it has a great presence." I could not imagine it ever playing an ordinary person, and Milady de Winter is nothing current. It is a triple agent, working undercover under multiple pseudonyms, a very advanced women at his time. Mile felt that I could contribute something very new and distinctive to this character and it has gotten squarely in the role. "The fans of his earlier works will not feel disappointed".
Thanks to all the work done in the Resident Evil franchise, Jovovich feels completely comfortable doing action scenes. "I love making my own risky scenes", says. "It is an opportunity that I always take and something that my fans appreciate, so I always like to make myself everything that I can".
"I have a great sequence of action which I intend to do myself, in which there are many fencing, which I love, so it will be fun." I have to face me ten guards while the full costume of Milady took place. I don't think that nobody has ever made a sequence of action with this kind of dress of huge skirts, petticoats, corsets, so it will be quite a challenge. Okay, for Milady is an innovative character, always the first to do something, so I am delighted you touch her make the first sequence of a woman with corset and a great dress action; "you deserve".
Christoph Waltz plays the shadowy and all-powerful Cardinal Richelieu. Richelieu has the power, it has more power than anyone else in France." Simply organize the issue so everything goes like silk. It is not an existential question, but rather something diplomatic. "It's a power game".
Like so many other great players, its treatment of the role was documented and know to appreciate the era in which the film is set. "I read biographies and I documented a little on Richelieu;" It is important to make this work to be able to inspire, but ultimately, the interpretation that I offer has nothing to do with the real Richelieu. "It's my real Richelieu", recognizes Waltz.
"This is a dramatic fictional interpretation", continues. "Needs to be at the service of dramatic intention, and not at the service of the story." You turn to the documentation because it is a good place where to start, but often to fantasize about it, you think infinitely more valuable things that work in which they will get ever to document yourself on historical facts. We also had an adviser's label, a historian and a theologian us brains-trust in the field of historical real label. Year and a half studying to be perfect could spend, but in fact this film is not that. "It is important to have knowledge, but it is also important to know leave the historical facts in the right place".
"It is fascinating to see work to Christoph Waltz, it is a true master", says Bolt. "Should not underestimate the brilliance of the Dumas novel." It is a masterpiece and the characters are phenomenal, so we needed actors who might be at the height of the material. With Christoph, exceeded expectations. "I think that we have had good luck of having been able to count on him in the film".
About his experience of working with the director, Paul W.S. Anderson, Stevenson says: "Paul feels real enthusiasm for this project, a pure joy for filming every part of this film, which is contagious." It is a very visual director and its dominance when it comes to telling a story in a film has no equal. I am not surprised the slightest who has decided to enter the 3D scene. What find me interesting is how will this so classical story in a 3D scenario. We know what 3D can bring visually, but it does follow a narrative drama in this sense, when it is not moved by the action? Action is result of the narrative, rather than happen the other way around. I think that it will work extremely well. "Viewers will need massages when they come out of the theater, because you will feel as if they had been involved in fights with us, is very exciting".
MacFadyen says: "Paul has inexhaustible enthusiasm and energy, and I do not say in a ridiculous sense." Just a very constant energy. "This quality is extremely important for a director because, at least, as an actor, you lean on it to keep you animated".
Locations
The three Musketeers was filmed in Germany foreign in some of the towns and most impressive cities throughout Bavaria, and Studio Babelsberg, Potsdam.
Filming began in Bamberg outer a historic courtyard located in the domplatz square. This place serves as the venue chosen by d'Artagnan for duel with Athos, Porthos and Aramis. But the duel is interrupted by the arrival of Rochefort and guards of the Cardinal, which are subsequently crushed by the three Musketeers and its young and new friend. According to opinion Lerman, "for me, boot with this big fight is definitely an interesting way to start, going directly to a great scene of action." I remember that I was the first of the four who shot his part of the match. It was really nerve, to say the least. "I'm very competitive, so I wanted to show what pasta was made, as well as start to get real benefit to all the time we spent in intense preparation".
The domplatz square was transformed into the Calais of the 17TH century, where our heroes discover that the route to England is blocked. Some scenes were also filmed at Obere Brücke (upper bridge) and beneath the ornate building that was formerly the Town Hall. The team worked all night to film scenes set outside the apartment of the Musketeers, where arrives accompanied by their guards Rochefort to arrest them by force if they refuse to surrender. The town hall was built in the mid-14th century. In addition to stunning architecture and the interior of Baroque and Rococo style, the frescoes are especially impressive by its plasticity.
"Personally, I loved Bamberg", recalls Lerman, "left Me amazed." In addition, we had a very well there. Both the Division and the team were hosted at the same hotel in this village, so we spent much time together daily, end of work, as well as on weekends. "We shook many ties".
The next stop of the tour was Burghausen, to shoot the historical walls of the Castle. An area that made the times of Meung, d'Artagnan makes a stop on his trip to Paris and gets a lesson on how it works real world from the hands of Rochefort. Burghausen was also the site chosen to serve as the bustling market of Paris, in which d'Artagnan chases to Rochefort, but instead encounters with Athos, Porthos and Aramis. Burghausen has the complex of castles wider Europe, which runs along 1 km in length. The Castle, dating from the 12th century, is picturesquely situated between the Salzach River and the Wohrsee Lake in the foothills of the Alps.
"Each location had its own character,"recalled Stevenson. "The way in which the set of Burghausen Parisian market was decorated was incredible, there was a free niche, which will be enhanced thanks to the 3D." "Also shot in places like the Residenz and the Antiquariam in Munich, where never they had shot before".
Then the team moved into the northern end of Bavaria to shoot the splendor of the Louvre at the Würzburg Residenz and its gardens. Gathered crowds of people on a daily basis to try to see the distribution of the three Musketeers, including Christoph Waltz, Orlando Bloom and Milla Jovovich.
Jovovich said the importance of shooting real outdoors, in cities and historical towns of Bavaria: "the real locations are what gives the film authenticity and grandeur." We could have chosen to shoot in France, but the French countryside is so modernized that we would have not been able to film these flat overall of the castles in the same way that allowed us to Bavaria. Paul and the rest of the team were unable to find these palaces and incredible historical castles that allow us to go back with the camera and offer a stunning panorama. "It is particularly important in this film, because the depth and visual field are crucial for the 3D".
The Palace of Weissenstein in Pommersfelden was the palatial residence which was used to simulate the interior of the Frankish Venice floor decor. Here is where the celebration of the Musketeers is interrupted by the arrival of Buckingham and the betrayal of Milady. Used for the filming room was intricately decorated with shells and mirrors embedded in the walls, which give the room an almost water quality.
The Palace, built between 1720 and 1780, is the former residence of the Princes of Würzburg bishops. During the 2nd World War, it suffered serious damage, but underwent an extensive process of restoration and reopened its doors in 1987. It is currently included in the UNESCO World Heritage list.
Shoot outside of Bavaria was a real pleasure to Macfadyen, in his own words: "seemed to have no end, was a beautiful location behind another, each one more wonderful and amazing than the last." My favorite was the Palace of the seventeenth century of Pommersfelden. There we shot the scene of the apartment Frank in Venice, where Milady betrays the three Musketeers. The room in which we were filming was enormous and exquisite, with walls decorated with shells and small mirrors. The artistic Department placed bathtubs full of water outside that reflect water and create an effect of light on the roof. It was a truly beautiful effect. "I feel very fortunate to have had the privilege of working there".
Later, the crew settled in Chiemsee, and they were forced to take a water taxi every morning to the island where he was the Royal Palace of Herrenchiemsee. This Palace is probably the most decadent of all those who were used during filming outside of the three Musketeers. It was the work of King Ludwig II of Bavaria, his intention was to create a copy of the Palace of Versailles, but Louis died in 1886, before the end of the construction. However, it still has a large bedroom that includes a huge bed of 3 meters, and the Gallery of mirrors, which measures 100 metres in length and is decorated with more than 1,800 candles.
We used several impressive halls and the famous French gardens of Herrenchiemsee as locations for the film. The place served as the French Louvre, residence of King Louis and Queen Anne.
Back in Munich, the team prepared for its last location in the great Hall of Schleißheim. This magnificent White room served as the Office of Cardinal Richelieu, as it reflected perfectly the cold and hard heart of the character.
On day 33, after six weeks on location, the team made the bags and moved to Berlin to finish filming at Studio Babelsberg of Potsdam.
Costumes
Among the many aspects in which this film offers a new version of the classic story, is a complete implementation abreast of costumes for all the characters in the three Musketeers. Costume designer Pierre-Yves Gayraud not lacked work to find a way to new and different clothing known as characters, while it remained faithful to the costume of the time.
Says Gayraud: "when I spoke for the first time with Paul, told me that it did not want that the costumes were very traditional, wanted them to have a rocker, especially for Milady attitude and the Musketeers." However, as we went forward, Paul became interested are increasingly searching for historical references. "Like it, so that the result is a complete mixture, is not exactly of the 17TH century, but they are not exactly like rock stars".
"Costume designer did an amazing job", it praises Stevenson. "Has designed some really wonderful costumes that fit all very well to this environment so striking and extravagant." "He has managed to create a costume that has the degree just of theatricality, is going to be a movie of amazing visual richness to enjoy 3D".
Gayraud continues: "We use much color, and of course, work on 3D supposed that we had an excellent opportunity to play with textures and give a whole lot of extra volume".
Having already experience working in the fashion world, Jovovich enjoyed working with Pierre-Yves Gayraud in the costumes of the wardrobe of Milady: "I love fashion, I have always felt great interest for her." "Work on the costumes of the characters is very important, because it is the moment in which your character really comes to life".
Gayraud notes: "the truth is that the clothes of the 17TH century was not anything sexy, was quite dull and heavy, especially for women, so we knew we didn't want to be too traditional." For men it was a little easier to achieve the traditional it modern, because the silhouette remained the same; still remained basically wearing boots, jeans and jackets of pilot. The women of the time were very strict and not particularly glamorous. "So we decided to change the volume of the corset, and mix it with the silhouette of Christian Dior in the 1950s off the top of the slopes up just below the hips".
"Keep more memories of small carry costumes than anything else, although I was never Queen." "This is the first time", says laughing Juno Temple, who played Queen Anne. "These suits were extraordinary, you feel beautifully with a brace and a beautiful skirt wearing neckline, clavicles, and neck, and a very Regal port".
Gabriella Wilde, which she played Constance, Lady-in-waiting of Queen Anne, shows agreement: "when you put one of these dresses, you feel different at the time." Those clothes forces you to go upright and move in a certain way, you feel really how it should be for these women. "Although also have occasion dress me boy in this film, so it was fun", says.
Given the stylized image that had been created, Pierre-Yves Gayraud and his team had to hand produce over 400 different clothing garments. Says: "We have three different sites to create costumes." We started with a workshop in Paris, where we did our prototypes and work in the silhouettes that we wanted to for men and women. When that part was defined, we turn to Romania to start producing the costumes. Until the first week of August we fail to Munich that put to prove them actors who were going to take them in the film. It was a tremendous challenge to get to comply with the schedule. "We were working on certain garments until the moment in which needed them to shoot a particular scene".
Another challenge for Gayraud was the element of action of the film, which explains as follows: "usually use old remnants of films in which I have worked before, but in this case, it was not possible, by the amount of duplicates required to meet the action scenes." Instead, we decided to use modern tissue and then work on them. We did many embroidery and add patterns to make them different. "We sometimes needed five or six duplicates of a same dress, so it would have been virtually impossible to find old materials in similar quantities".
Bloom talks about his original costume and how he helped the character charged life: "We have an excellent trial stage and he had already been working in the dialect, voice, movement, and the physical presence of my character... and then got me my suit." Not you walk with nonsense when you wear a suit as the Duke! For a film, it is certainly a great help, but it was also something with what he had to learn to feel comfortable. This clothing is not something that you wear every day. "My clothes have nothing of comfortable, but have an incredible looking".
"This costume makes you jump your eyes and you may fly the pupils", says Freddie Fox. "Luis is interested in fashion, but it is not a slave to it." He wants to have the best possible look, because it must be the center of attention. "Cares especially to show off in front of the Duke of Buckingham, which tends to go a step ahead of him in matters of fashion".
Producer Jeremy Bolt echoed the praise of the cast: "Pierre-Yves has shown me how costumes can be as important for a film as good lighting." Clothing is a recurring theme in the three Musketeers; "the King was much interested in fashion and Buckingham is like the icon of the fashion of the 17TH century, so we had a very well with the idea of fashion throughout the film", said.
Production design
Paul Austerberry says about the appearance and atmosphere of the film: "Is a modern version of a film of time." Is assumed that it is obviously set in the 17TH century, but we have incorporated a lot of modern elements; It is stylized, with clean and simple lines and a palette of vivid colors. "It is more as a time of comic book movie than a true drama of time".
Continues talking about the style of the director and how influenced the decisions that had to be taken with regard to the element of the filming outside of the film: "Paul Anderson likes the flat overall." That is fantastic for the artistic Department, because he always wants to show all the work we do. Paul likes things to be very symmetrical, what gives it all of a highly stylized look. Everything we do use a wide-angle lens, usually an 18 mm lens, and everything looks bigger than it really is. We went to all these amazing places that are already huge, and we have used a wide angle lens, close to the ground, enabling capture throughout the world. It is fantastic, because you can display all the atmosphere that surrounds these wonderful scenery, and is more realistic for the actors. "What makes Paul is somewhat subtle, but get that you have everything there, just in front of you".
As production designer, Austerberry was part of the team of localization for foreign decided in favor of Bavaria for most of the filming in real scenarios of the three Musketeers. "I wasn't sure what to expect from the locations, but they are fantastic." We were looking for Italian and French sites, and, of course, Bavaria has many architecture of Italian influence. "Many people wanted to then their Schloßes [palaces] designed in Italian style, or be part of an Italian grotto built on his land, so we can find many buildings of the style in the South of Germany".
However, filming in real scenarios presented a whole series of complications, as Austerberry explains: "For a start, we needed get permission to film in these protected places". Some of the sites in which we wanted to shoot were very protected by its historical society, so it was difficult to access them. When we did, we had to decorate each scenario. Many of our articles were authentic objects from the 17TH century of France. "For every piece of furniture which we took to buildings, we had to present a certificate to declare that it did not have a questionable past, to ensure that we do not metiéramos termites in the Schloßes".
With regard to the use of colour, Austerberry notes: "Have tried to force the limits of the color and style in all possible aspects." For example, the law firm of Richelieu is a huge room of high ceilings, completely painted in white, with very small details in black and gold. "It is incredibly cold and austere, resulting in a marked contrast with the red blood of the cassock of the Cardinal and the uniforms of his guards, who go dressed in red, with glossy black armor".
Austerberry says about the creation of aircraft of the film: "the truth is that blimps did not exist until the 18th century." However, there are many illustrations of the 17TH century aircraft, and they were often represented as normal ships hanging under a huge air balloon. I guess, so, if they amerizaban, they could stay afloat. We took this idea to the extreme and base our aircraft on a Galleon of the time, slightly modified, and suspended under a huge balloon. The vision which had Paul of these aircraft was that they came to be as a star of the death of the 17TH century, the first time we saw her to sift on the Louvre in Paris had to seem huge. "We take great liberties with the gravity and physics, enabling us to turn it into an impressive vehicle".
Austerberry explains how to work on a 3D set affects his work as production designer: "This is my first film in 3D." It is not radically different, because I always like to offer a close-up, a median plane and a background. However, in 3D, I have to think a little more. Not things can too close to the camera; We have to make room for the extra on the set equipment, because the cameras are much larger and require more people working on them. "This was especially true in the interior of the aircraft, where we had to expand the set to make room for the camera, the technical team and the actors could enter everyone in the ship's hull".
"Also I have had the opportunity to play with the layers", continues Austerberry. "Is especially impressive when the camera passes through the layers, and objects that you did not know they were there suddenly jump in 3D." "It's been fun".
Musketeers in 3D
For the equipment, the decision to shoot in 3D was very simple: "Shot in 3D because Paul does not want to shoot in any other format", says Bolt. "After having filmed Resident Evil: afterlife 3D is a complete convert." For him, he comes to be equivalent to when the sound was introduced in the film, at the beginning of the last century. Not I ask Paul projects unless you can shoot them in 3D. Paul has a highly visual style, loves the symmetry, the objects in the foreground, median plane and background. "3D wouldn't work with a director much more interested in the written word, is a medium entailed a tremendous visual challenge, and the director must be visually bright to make the most".
Although Paul W.S. Anderson is known for his work in 3D, it was a new medium for the young Lerman, in his work before the cameras. "Had not been never before in a 3D set, so around the world of 3D technology I sounded like Chinese when we started." I was excited to learn how 3D movies were done. "The truth is that, as an actor, I would say that in some respects it is easier, because you can see a digital reproduction of high quality and in 3D, it's amazing to be able to see exactly what is rolling".
Jovovich, who already has experience in 3D, explains what the environment will contribute to the three Musketeers: "I think that Paul is going to reach new heights with the 3D in this film." No one had been filmed until now a historical work in 3D and however perfectly fits the time. When you see these amazing castles, landscapes, gardens and costumes in 3D, it will be like putting a story. Viewers may go to the movies and put himself in time past, full of wealth and beauty. "So far had not been seen nothing so 3D".
Lerman shows agree: "many people asked me why we wanted to do a new version of the three Musketeers in 3D." The truth is that today we have a truly impressive technology and 3D transports you directly to that time in a way that had not achieved it any another version of the three Musketeers so far. "You look completely immersed, you get glasses and you're there, in the middle of the action".
Producer Robert Kulzer adds: "I think that all great films adventure rodarán now in 3D." We all had the clear feeling after Resident Evil: afterlife you need to find the next big show we could shoot in 3D. This film is perfect, because we have such incredibly symmetrical architecture works, these beautiful buildings, castles and parks, which lend themselves perfectly to photography in 3D. I believe that it will bring great value to the film, not only for fans to action cinema, but also for fans of beauty or historic buildings in general. "They will experience these places in a way that had not ever, through superb photography in 3D".
What viewers can expect
Jeremy Bolt tells us what viewers can find when the three Musketeers in 3D arrives in theaters: "can expect something to have not seen ever, swords will move faster than I have ever seen in a movie with swords, costumes will be more eye-catching than you can imagine, the action will seem more typical of a science fiction film""scenarios will be stunning and the story is unforgettable".
"It is not that we have intended to be a few different Musketeers", drew Macfadyen, "but rather about Musketeers for a new generation." We have a great script, wonderful artistic and technical teams, extraordinary scenery, and I think that all these ingredients allow us to create a different version of what is already in a natural way of itself an excellent story extremely amusing. "With its universal themes of love, loyalty and friendship, hope it is as relevant and as relevant as possible".
Assume the role of Porthos was fun for Stevenson: "when he went to the movies for children, there was always this kind of epic adventures in the big screen and find you making one of them in real life is like living a dream." We have had to ride horseback and fight with swords, it is an incredible way to live your life and earn a living. If we are going to all work together and we want to entertain people, should be carried away by the spirit of adventure. "Everyone needs to feel happy, sometimes you have to let yourself go on an inspirational journey of emotions and adventures, and that is the essence of the three Musketeers".
Stevenson explains what excites you the version of the three Musketeers by Paul W.S. Anderson: "I hope that it will serve to provide a great adventure to this generation." Show them that there is still room for genuine emotion and the spirit of to come and experience life and get underway in good heart. It would be great if this movie serves to ensure that at least one person say: 'Enough of videogames, will climb to the top of this mountain, will make a journey by boat, I will build a school in the rainforest'. "You can still live adventures, they are all there, waiting".
Curious facts
-Were 260,000 gallons of water needed to fill the section of the Venice canal built in the 15 Studio of the Babelsberg Studio.
-The actors were not the only ones that required make-up and hairdressing; the horse that was going to interpret to the beloved d'Artagnan nag had to put gray extensions in the mane and helmets.
-In preparation for filming, Logan Lerman and actors responsible for interpreting the three Musketeers received lessons in the art of the fencing of the German champion of Europe and gold medal, Imke Duplitzer.
-The Department of arms had to create by hand more than 800 individual weapons in time for the filming of the three Musketeers; It includes various weapons of firearms, pistols, muskets, daggers, stocks and swords.
-Scenes that required visual effects, the crew used for about 3,000 metres of green cloth scenarios, or that it took about 3 kilometres in green background to create Visual effects.
-For the set of the House of Venice, the art Department painted 1,800 slabs of marble, I think 180 masks of gargoyles to hang on the walls and it rolled 2,000 scrolls that fill the camera.
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