The âNews of the Worldâ awards season contender is a departure for director Paul Greengrass after high-adrenaline contemporary films like his trio Jason Bourne and âJuly 22â. He reunites with “Captain Phillips” star Tom Hanks in Universal’s Western about Captain Kidd, a man who broke the news in the cities of Texas, accompanied by orphan Johanna. Greengrass and his team behind the camera “shared the goal of honoring Western tradition and staying true to 1870, but also of making film contemporary and relevant.” He says the greatest pleasure was working with “people who are fearless artists who perform at a high level.”
Dariusz Wolski, Director of Photography
âHe’s a great guy and a great artist. The start of our conversation was about my wish to make a new movie for myself: the trick was to do something different but still felt authentic to me. Can we find a visual language that does this? I was amazed at how quickly we slipped into it. We talked a lot about ambiance and ambiance. I wanted to juxtapose the immense expanse of the grounds and the dark, candlelit interiors. Dariusz is so brilliant; he pushed me the right way, and I think I pushed him too.
William Goldenberg, editor
âI wanted to slow down the tempo but not lose intensity. A sequence of action [when Kidd and young Johanna are chased by three baddies] was both a challenge and a lot of fun. It starts off as a chase, then turns into a rock shootout, then turns into the cat and mouse. Billy helped shape this. It’s about telling a story, choosing the moment, judging the tempo – when to let it go or when to hold it back. Billy’s pace is so exquisite, the way he edited this movie. It does what an editor should do, which is interrogate the dailies and seek to deliver what you are looking for, but it isn’t afraid to wonder if what you are looking for is actually what you are looking for. have.
James Newton Howard, composer
âThe interesting thing was the privacy and the parsimony of the score. My idea was that it was a concert of players who went through the civil war; their instruments and their bodies were broken and reformed in the Reconstruction. Their music is a journey to find harmony. However, there are musical moments when you have to enter the âcinematographic spaceâ; it’s a film, it must come and get you and transport you. It was about choosing those moments – on the road to Dallas there was one, another came face to face with the Kiowa tribe. James worked and reworked it until he delivered this magnificent score. It is so subtle and so dignified.
David Crank, production designer
âFantastic, absolutely brilliant. We didn’t have huge resources and he put every dollar on the screen. We had run a ranch in New Mexico and cycled and recycled things in different ways; he gave us facades of buildings, extensions, even details inside a building. And its details were impeccable. We photographed the buildings one way, then the other; it is a bit of a question of the choice of angles. We also recycled the interiors in a clever way. We were shooting an interior, and then when we were shooting something else, David would come in and re-use the area, and it was transformed into a completely different space.
Mark Bridges, costume designer
âHe’s extraordinarily talented. The character of Kidd – that’s what attracted me to the story. He’s a lonely news reader who wanders from town to town; he was not a flashy artist. Mark had to get Kidd’s reading suit perfectly, and he did. All the clothes seem very real, very real. It is the art of costume design, to tell the stories of each character. Mark gathered all of the stories from these characters and made some subtle choices, right down to the aunt and uncle at the end, who were perfectly dressed. The way Mark changed Kidd and the little girl’s clothes at the end, in an entirely organic way; there is a kind of happiness in clothes, but very subtle. When you see Mark on set looking at his clothes, he sometimes says, “I’m not sure” and then adds or subtracts a little detail. Making a movie is all about the right details.