:50:04
Seven characters, so you have to imagine...
:50:06
as many as seven people
working on one shot.
:50:08
So that kind of scene
can be in production for months.
:50:11
Beautiful effects animation.
:50:18
Always a challenge to get scale
throughout the picture.
:50:21
There are visual challenges,
animation and lighting challenges...
:50:24
to hint at the size
of the world we're trying to depict.
:50:27
We had to redo the costumes
in these scenes.
:50:29
They were all clothed
with the wrong costume.
:50:31
I think we'd forgotten
to get them ready for winter.
:50:36
So it's significant
that this next scene takes place...
:50:39
in the same location...
:50:41
where Sinbad first attempted
to thank Marina for saving his life.
:50:45
It is now her going back...
:50:48
Iooking at the railing
that was broken in the Sirens sequence...
:50:52
and it's now her turn to thank him.
:50:55
And this scene was storyboarded
by Sharon Bridgeman...
:50:58
and the boards were so full of emotion.
:51:01
They were really tender.
:51:03
That was one of the first sequences
that William animated for Marina.
:51:07
This is where he...
This scene, particularly...
:51:10
and a couple of scenes also, that
he redefined the character, the look of her.
:51:14
Sharon, when she pitches this,
has that thick Irish accent.
:51:19
"This life suits you." Her pitch is so soft
and so beautifully done...
:51:23
I think many people welled up
as they were watching it...
:51:26
in this fluorescent room
where we were doing the story review.
:51:30
The aurora was actually leftover...
:51:33
from revealing
another location and sequence...
:51:36
which was cut from the film early on.
The Medusa sequence.
:51:41
Yet another monster
on the cutting room floor.
:51:43
But her skeleton is in his cabin.
:51:47
We have so many different styles of ocean...
:51:50
this, perhaps,
being the most simple and beautiful.
:51:55
All of the work on the water, in the film...
:51:57
whether it's the raging rapids
of the Siren sequence...