"Cloud Atlas" production notes [PDF] - VisualHollywood

CLOUD ATLAS (2012) PRODUCTION NOTES
"A moment arises where Zachry is forced into a situation where he can be violent again," Tykwer
describes. "He has his knife at the throat of a Kona warrior, and Tom is such an amazing actor that
you can see on his face those earlier characters overlaid in Zachry. It's the force of that old killer,
Goose, somewhere deep in his genes. Although he's a different man now, Goose would not have
hesitated."
In outlining this path for the Zachry soul, Lana says, "We were simultaneously drawn to this concept,
which became one of the meta-narratives of the film: how a person can go from the worst of
us to the best. All these people can remain in a narcissistic, exploitative, predaceous life, or they can
change. So we wanted to start with a character that was a pure predator, Goose, and trace his progress
upwards until he becomes potentially the comet hero."
Often that evolution is triggered by love, illustrated by the interlocking nature of Hanks' and Berry's
roles. Lana continues, "When Luisa Rey meets Isaac Sachs at the power plant he's in the middle of
his journey—not a bad guy, but still working for this evil organization. But he falls in love with her
and that literally changes his direction."
TWICE THE WORK, HALF THE TIME
"No matter what you do, it will never amount to anything more than a
single drop of water in a limitless ocean." – Haskell Moore, 1849
"What is an ocean, but a multitude of drops?" – Adam Ewing, 1849
Tykwer and the Wachowskis did not anticipate working on two fronts when they set out to adapt
Cloud Atlas. The logistics of filmmaking were overshadowed then by their focus on capturing the
essence of Mitchell's novel. But as the script took shape, the cast assembled and the scope of what
they were trying to accomplish became clear, the dual-directing plan emerged as the most efficient.
They could shoot in half the time by dividing the effort between two units operating concurrently,
each focusing on three of the story's six segments, and each with their own established team of talented
collaborators, while the actors moved from one to the other.
"One year before the start of production, we brought the department heads from both crews together
for a four-week summit in Berlin so we could all sit down and work through the script," says producer
Grant Hill. "We were testing relationships and methods and assessing how this whole thing
could work." Taking their cue from the directors, the feeling was overwhelmingly collaborative.
"With all these great people open to professional partnership, we realized it would be a matter of
providing clear direction and an iron-clad plan, and then harnessing all this firepower."
The Wachowskis navigated Adam Ewing's 1849 ocean voyage, Sonmi's 2144 rebellion and the
events of Zachry's life in the 24th century. Their team included production designer Hugh Bateup
and director of photography John Toll.
Tom Tykwer captured the journey of musical amanuensis Robert Frobisher in 1936, journalist
Luisa Rey's exposé of corporate conspiracy in 1973, and the singular, often comical, predicament of
London publisher Cavendish in 2012. Joining him was production designer Uli Hanisch and director
of photography Frank Griebe.
Production launched in September 2011 with Tykwer in Scotland and the Wachowskis in Mallorca.
© 2012 Warner Bros. Pictures 14