Pirates of the caribbean: at world's end - Disney

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Alfredson’s “P&B,” Bo Widerberg’s “The Serpent’s Way Up the Naked Rock,” Kjell-Ake Andersson’s “Friends,” Grede’s “Hip Hip Hurrah!,” Carl Gustaf Nykvist’s “The Women on the Roof,” Sven Nykvist’s “The Ox” (Academy Award ® nominee for Best Foreign Language Film), Ake Sandgren’s “The Slingshot,” Hans Petter Moland’s “Zero Kelvin” and “Aberdeen” and Erik Skjoldvjaerg’s “Insomnia.” Skarsgård’s reputation began winning him roles in the United States and throughout the world, with key performances in such films as John McTiernan’s “The Hunt for Red October,” Carroll Ballard’s “Wind,” Peter Antonijevic’s “Savior,” Udayan Prasad’s “My Son the Fanatic,” Steven Spielberg’s “Amistad,” Gus Van Sant’s “Good Will Hunting,” John Frankenheimer’s “Ronin,” Renny Harlin’s “Deep Blue Sea,” Jonathan Nossiter’s “Signs and Wonders,” Mike Figgis’ “Time Code,” Istvan Szabo’s “Taking Sides” and Matt Dillon’s “City of Ghosts.” Following their collaboration on “Breaking the Waves,” which won the Grand Prix at the Cannes Film Festival, Skarsgård once again starred for Lars von Trier in “Dogville.” Most recently, Skarsgård has been seen in Jerry Bruckheimer’s production of “King Arthur” opposite Clive Owen and Keira Knightley, as Father Merrin in Renny Harlin’s “Exorcist: The Beginning” and in Sturla Gunnarsson’s “Beowulf & Grendel,” filmed in Iceland. Concurrently with filming “Pirates of the Caribbean: Dead Man’s Chest,” Skarsgård was also traveling to Spain to star in the title role of Milos Forman’s “Goya’s Ghosts” as the legendary Spanish artist Francisco Goya. He then followed with a role in “Waz.” Currently, Skarsgård is preparing for his next film, “Mamma Mia.” On television, Skarsgård has starred in Ingmar Bergman’s “School for Wives” and Bo Widerberg’s “The Wild Duck” and in the U.S., “Noon Wine” for PBS, “The Harlan County War” for Showtime and “Helen of Troy” for the USA Network. He is also one of Sweden’s most celebrated stage actors, having spent 16 years at the Royal Dramatic Theatre in Stockholm working with such directors as Ingmar Bergman, Alf Sjoberg and Per Verner-Carlsson. BILL NIGHY (Davy Jones) was born in Caterham, Surrey, in 1949 and trained for the stage at the Guildford School of Acting. He made his professional stage debut at Newbury’s Watermill Theatre and subsequently gained experience at regional theatres like the Edinburgh Traverse, the Chester Gateway and the Liverpool Everyman. He made his first appearance in London in “Comings and Goings” at the Hampstead Theatre in November 1978. Bill has regularly appeared at the National Theatre in a succession of new plays by leading British writers. In 1993, he starred as an ambitious academic in Tom Stoppard’s “Arcadia” in a production by Trevor Nunn. Seven years later, he won enormous critical acclaim for his performance as psychiatrist Dr. Robert Smith in “Blue/Orange,” written by Joe Penhall and directed by Roger Michell. For Nicholas de Jongh in the Evening Standard, it was a “knockout performance.” It was a performance that also brought Nighy a Best Actor nomination in the prestigious Olivier Awards. Bill was also seen as Trigorin in a National Theatre production of Chekhov’s “The Seagull” opposite Judi Dench as Arkadina. Mr. Nighy had previously worked with Dame Judi on “Absolute Hell” (BBC) and they were recently reunited for the critically acclaimed “Notes on a Scandal,” which also stars Cate Blanchett and is directed by Richard Eyre. Bill’s long list of television credits includes virtually every major drama series on British TV, but it was his work on “The Men’s Room” (BBC) in 1991 that brought him particular attention. More recently, he won a BAFTA Best Actor Award and a Royal Television Society Best Actor Award for his performance as a newspaper editor in the cult series “State of Play.” He has also starred in two television films for writer/director Stephen Poliakoff in “The Lost Prince,” for which he won a Golden Satellite Award for Best Actor in a Supporting Role, and the extraordinary “Gideon’s Daughter.” Referring to Mr. Nighy’s work in “Gideon’s Daughter,” the New York Herald news commented that “he dazzles with his 57 ABOUT THE CAST
ABOUT THE CAST subtlety…There ought to be a prize for him for making it look so real.” His playing of Lawrence, a middle-aged Treasury official rejuvenated by love in “The Girl in the Cafe,” won him a Golden Globe ® Award for Best Actor in a Miniseries and widespread praise from critics. For Entertainment Weekly, Mr. Nighy was “effortlessly charming” and Alessandra Stanley wrote in the New York Times that “The cause is just, but Bill Nighy’s performance is reason enough to sign up.” “The Constant Gardener” won Bill Best Supporting Actor at the British Independent Film Awards in 2005. But it was “Still Crazy” and his performance as ageing rock vocalist Ray Simms that established Bill’s cinema profile and which won him the Peter Sellers Award for Best Comedy Performance, given by the London Evening Standard. Bill landed a second Peter Sellers Award for his unforgettably washed-up pop star Billy Mack in “Love, Actually,” an enormously popular performance that also won him a London Film Critics Award and a Best Supporting Actor BAFTA. Other cinema credits include “Underworld,” “Underworld: Evolution,” “Shaun of the Dead,” and “Enduring Love.” In 2003, Bill won four Best Supporting Actor awards from the L.A. Film Critics Association for his performances in “AKA,” “Lawless Heart,” “I Capture the Castle,” and “Love, Actually.” His stellar performance as pirate captain Davy Jones—half-squid, half-human—in “Pirates of the Caribbean: Dead Man’s Chest” will be reprised with the 2007 release of PIRATES OF THE CARIBBEAN: AT WORLD’S END. Bill is currently performing on Broadway in David Hare’s theater production “The Vertical Hour.” He stars along side Julianne Moore in this story of an American war correspondent that is challenged about her beliefs and culture after meeting an Englishman whose way of life comes as a surprise. The Observer stated that Bill “gave one of the most remarkable performances ever seen on a New York stage.” Projects for 2007 include “Easy Virtue” where Bill will star opposite Renee Zellweger. This film takes place in the 1920s and follows the complicated experience of meeting new in-laws after an American woman marries an Englishman on the spur of the moment in France. Bill also has a cameo appearance in “Hot Fuzz,” a film from the makers of “Shaun of the Dead.” CHOW YUN-FAT (Captain Sao Feng) grew up on Lama Island, a small fishing village off of Hong Kong. His family moved to the city on the big island when he was ten. At the age of seventeen he quit school to pursue a career in acting, and at the suggestion of a friend, he applied and was accepted into a local Hong Kong television station’s actor trainee program. After the yearlong program, he was quickly signed to the station as a contract player, which lasted fourteen years. Having done over one hundred and twenty-eight episodes of the popular television series “Hotel,” Chow was considered a sex symbol and popular leading man in Hong Kong. The immense popularity of his next television series, “The Bund,” made him a household name in all of Southeast Asia. His first big break in films came when new-age director Ann Hui approached him to star in “The Story of Woo Viet,” which gained him critical acclaim for a role in a serious and commercially successful film when Hong Kong was still mass producing kung fu action films. From there, his career skyrocketed. He received a number of Best Actor awards for his roles and even made twelve films in 1986—a record for a Hong Kong actor. John Woo then cast him in the role of Mark for the internationally acclaimed film “A Better Tomorrow.” Chow reached megastar status in Asia with his now trademarked trench coat, sunglasses and blazing Berettas. After a series of romantic comedies and dramas, the determined Chow would later collaborate with John on “The Killer” and “Hard-boiled”—two movies that perked the interests of a growing international fan base. A new genre of films was produced in Hong Kong with Chow at the forefront. These stories were reminiscent of the gangster films staring Humphrey Bogart and James Cagney, now with Chow playing 58
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CREDITS Cryer . . . . . . . . . . .
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CREDITS Tailors . . . . . . . . . .
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Page 18 and 19: PIRATES OF THE CARIBBEAN: AT WORLD
Page 20 and 21: With only seven features to his cre
Page 22 and 23: eally tough choices. In that sense,
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Page 26 and 27: a Mardi Gras float. I’m much more
Page 28 and 29: Singapore Sling With the lion’s s
Page 30 and 31: equired performers taking 8- to 14-
Page 32 and 33: WORLD’S END. Much of AT WORLD’S
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Page 36 and 37: eyond a dream come true. Experienci
Page 38 and 39: allowed them to roll.” The constr
Page 40 and 41: showdown between the pirates and th
Page 42 and 43: “Keira gets to wear a Chinese cou
Page 44 and 45: a kaleidoscopic array of characters
Page 46 and 47: When the balls rained down upon the
Page 48 and 49: to it, and you can tell that there
Page 50 and 51: Hawaii Farewell “Aloha Oe” was
Page 52 and 53: second and third ‘Pirates of the
Page 54 and 55: to drop. But there’s also great s
Page 56 and 57: The relatively brief but remarkable
Page 60 and 61: the tragic hero. Hong Kong director
Page 62 and 63: One of London’s most promising im
Page 64 and 65: “Waterworld,” “Bob Roberts,
Page 66 and 67: Making his feature-film debut in
Page 68 and 69: ABOUT THE FILMMAKERS Working in a w
Page 70 and 71: Summer 2006 brought the theatrical
Page 72 and 73: As a filmmaker for over 25 years, B
Page 74 and 75: “The Road to Wellville,” “Pin
Page 76 and 77: Decca and released as a concert alb
Page 78 and 79: One of the most renowned makeup art
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Pirates of the caribbean: at world's end - Disney

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