Issue link: https://digital.copcomm.com/i/1480624
Once the actors, led by Viggo Mortensen and Colin Farrell, arrived on the scene and began working in the first underwater sets, they felt compelled to do their own stunt work as much as possible. This decision gave Ron the opportunity for longer shots that ended and started in close-ups, without having to cut away to a double. Suddenly, across all of the sets, consideration had to be given to the split of 1st and 2nd unit and the sharing of actors, divers, set elements and stage space, creating another layer of complication for the timing of set delivery. Certain sets also had multiple water levels that required change-over time to drain, refill and reheat. Along with all of this were the challenges faced by the set decorating team, led by Emma Rudkin, who worked to import as much from Thailand as possible for the base camps and Thai house sets, to be sure she could keep the sets authentically dressed. She and her team had buyers in Thailand who shopped remotely for us, packing a large container full of tents, umbrellas, chairs, and smaller goods that were shipped over for the extensive camps and Thai house sets. The assistance of Thai Art Director Lek Chunsuttiwat, who came over early in prep from Thailand to work with the Art Department for the duration of the film, was invaluable to the design and build process, helping us understand the nuances of Thai tradition and custom as evoked in the script. The result was thrilling; the Thai actors were so excited by the authenticity that it helped everyone be transported to the world of the story. Propmaster Lisa Brennan faced her own challenges —the authenticity of the divers' gear and the complexity of the procedure by which the boys were D. CHAMBER 4 WITH CRANE IN PLACE. E. TUNNEL TO CHAMBER 9 BUILD. D E