USA 2003
Directed by Chris Weitz
Starring
Daniel Brühl
as Guybrush Threepwood
Bérénice Bejo
as Elaine Marley
Bryan Cranston
as Capt'n LeChuck / Fester Shinetop
Jim Carrey
as Stan
Vin Diesel
as Meathook
Marion Cotillard
as the Swordmaster
Paul Rudd
as Otis
John Lithgow
as Herman Toothrot
Michael Sheen, Hugh Laurie and Damian Lewis
as the Monkey Island Cannibals (voicework)
Music by Michael Land
***
"SOMI", as it is affectionately abbreviated, made "Pirates of the Carribean" look dead-serious in comparison. Made at a budget of just 65 million US$, taking back in 131 million domestically, but 410 million US$ on the global market with the theatrical run alone made it a nice success for the studio.
"Monkey Island II: The Curse of LeChuck" spent considerable time in development hell and came out in 2011.
Excerpts taken from the recent BluRay-commentary by director Chris Weitz:
"We knew that we had an opportunity and a challenge at hand simultaneously. The opportunity was to turn a cult video-game into a cult movie. The challenge was, to actually succeed where many had failed miserably on similar projects in the past.
One one hand, we could count on a fanbase which was eager to see one of their favourite games, perhaps the funniest game ever, taken to the big screen. On the other hand, if we wouldn't meet their expectations, we knew that the backlash would be merciless.
[...]
The general situation when making the movie was mirrored in scriptwriting. Many people assumed that this would be a no-brainer. The lines were all there, the jokes were nearly perfect already, the characters...were stock but were supposed to be that way and quirky to the nth degree.
But in fact, turning a multi-option adventure game into a linear movie which runs 90...perhaps 120 minutes is a special challenge. A movie is not a game. As a player, especially in Lucasarts-Games, you can always go back and try other options and find different jokes...and it is huge fun. In a movie, it would be tedious and illogical to do so.
[...]
We tried to avoid expensive names in the casting. We wanted fresh faces, and we wanted to be more than a bit international. And by international I don't mean just Canadians or Brits. Studio execs kill you in 9 out of 10 cases for this, because they are a bit paranoid about alienating the US audience. This was really unusual way back then ... Spielberg and Tarentino changed the rules a bit during recent years.
We had a Spanish-German in the main role, and two French as the main female characters...but it soon felt during filming... that this multi-cultural approach, this multitude of accents lended its own air of authenticity to the setting. You see, the Caribbean was not some sort of Anglo-lake, the islands belonged to the Dutch, French, Spanish or even Danish.
In the end it also paid out in cash...the Europeans appreciated our casting decisions...and if you convince the French to watch a movie, they like seem to bring all their cousins to the cinema.
We had literally stumbled across Brühl when someone’s PA brought a copy of “Good Bye, Lenin” to one of the first pre-production meetings; it had leaked out and the movie was still to be released at festivals. The girl was absolutely convincing so I promised to take a look. It took me ten minutes until I called our casting director and we pondered whether we should contact that guy. Handsome, yet very boyish; not cut like a hero, but it wouldn’t take full suspension of disbelief to imagine his character shine when needed. It helped that his character has an almost Jacques-Tati-eque stubbornness. It was exactly what we needed, though we knew we were taking a mad risk. For a mad film- so what? A few years later, the studio would have insisted on Michael Cera. And I am not sure whether that would have functioned that well.
Someone at the studio called Babelsberg and shortly afterwards we could do some informal screen-tests and rehearsals and so the trust grew that he absolutely could carry an international production.
This gave our casting director the idea to look a bit deeper into the fold of European newcomers.
We especially had a look at young, unknown actors who had already made their mark with awards or nominations for them. Marion already had been César-nominated twice, and Berenice also once. Daniel Brühl already had won some national film prices for starring roles. So there was little doubt that our young actors weren’t inexperienced at all, but actually rather talented.
[...]
Then we took another risk which really paid off. We had “Malcolm's Dad”, Bryan Cranston, as the villain, before anyone knew he could act intimidating or dangerous. We could afford for recognizable names for the small roles, basically as cameos....besides, there was no alternative to Carrey as Stan.
[...]
We soon learned that Disney had taken a ride....for Pete's sake, a boat ride from Disneyland and were going to make a movie out of it. That made us optimistic. We thought if they demmed that was possible, then our task to convince audiences that Monkey Island was worth spending ten bucks was comparatively easy.
[...]
In hindsight, "The Secret of Monkey Island" was the movie Johnny Depp thought he was filming. Whacky, low budget, hand-made. Did we go to the Caribbean and build huge sets? No, this was supposed to look backlot. We filmed some exteriors in Florida State Parks, just fifty metres away from the tourists....and some street scenes in St. Augustine without much ado and huge, really amazing support from the locals. They were like "tells us in advance which places you need and we make them look 1700ish."
The ship we needed wasn't even supposed to move....beyond magically appearing next to Monkey Island. Yes, some of that was really easy... and I am glad we had the right production designers on board which topped every idea with something crazier."