Immortals.

(:: History ::)

1)The armies of the king Hypérion devastate Greece, destroying every village on their passage. The slaughterous king will let nobody him prevent from hitting the mark: liberate the power of the Titans put to sleep to ruin the Gods of Olympe and the very whole humanity.
Nothing and anybody seems to be able to stop the destructive madness of Hypérion, until a young stony suit, Thésée, swears to avenge his mother killed by his soldiers …
When the young man meets Phèdre, the oracle, this one is attacked with disturbing visions. The young woman is persuaded from now on that Thésée is the only one who will be able to stop destruction. With the help of Phèdre, Thésée gathers small troops of faithful, and leaves to confront its destiny in a struggle despaired to preserve the future of the humanity.
2)Years after the Titanomachy, the Titan Hyperion declares war on humanity. He searches for the Epirus Bow, a legendary weapon created by the war god Ares, which will allow him to free the rest of the Titans from Tartarus and take revenge on the Olympians who brought about their downfall.
Date (s) of Exit (s):  November 23rd, 2011 |   November 11th, 2011

Accomplished by:	Tarsem Singh
With:	Henry Cavill, John Hurt, Luke Evans, Mickey Rourke, Kellan Lutz, Freida Pinto, Isabel Lucas, Stephen Dorff, Joseph Morgan, STEPHEN MCHATTIE, Robert Maillet...
	complete casting...

Distributor:	Metropolitan FilmExport
Type:	Adventure, Action,
Country:	USA
Length:	1 h 50
Original title:	Dawn Of War, Immortals

Official Site (s):
France: http://www.lesimmortels-lefilm.com/
Japan: http://immortals.jp/
USA: http://www.immortalsmovie.com/splash/index.html

(:: Trailer for Immortals ::)

(:: Free Streaming to Watch Immortals Online ::)

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(:: Pictures Of Immortals ::)

(:: Downloads Links ::)

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3gp, MP4:
Part 1 : http://www.sendspace.com/file/rgsxdr
Part 2 : http://www.sendspace.com/file/5g4agy

(:: Wings of the film ::)

Preface:
When the producers of 300, Gianni Nunnari and Mark Canton, the producer Ryan Kavanaugh (FIGHTER) and the young film director Indian prodigy, Tarsem Singh (to whom TEA CELL and the very waiting WHITE SNOW are owed) combine to tell the clash of a king who wants to destroy the humanity and of lethal one choosing by the Gods to fight him, it gives a film at the crossroads of types, show rich in all what makes the force of the cinema. THE IMMORTALS intriguing one epic poem is where are conjugated all power of mythology, all nobility of a pure in heart hero, magic and violence of a time when the Gods and the thirsty men to be able reigned over the world. Interpreted by a dazzling distribution, visually astounding, served by the very last technologies, THE IMMORTALS plunges us into a world without compromise where every stage constructs the legend. Colossal decors, visual effects extremist innovators, Homeric battles, infinite armies, the film is regulated by clashes the violence of stakes of which has of equal only the aestheticism with which they are staged. THE IMMORTALS is a visual rich opera bewitching and force of feelings. Never mythology was also alive and so grandiose.

Bigger than the legend:
By reading the initial scenario of the IMMORTALS of the brothers Charley and Vlas Parlapanides, the producers Gianni Nunnari and Mark Canton understood that they held an unique plan. Gianni Nunnari remembers: «We really loved. Their pitch was good, definite and detailed. However, we weren't sure of wanting to restart immediately in another historical epic poem.»
The producers went out at the risk of the huge success of the revolutionary 300. Mark Canton comments: «The film 300 marked a decisive turn in our two careers but also in the history of film industry. For the first time, we showed that he was possible to accomplish a modern historical film and close to current waitings in terms of feelings, of morality and of emotion. After this, we thought to produce a different plan. But Gianni has same no sound to admit a good scenario. Both being keen of history, mythology and literature, we decided to make IMMORTALS the second volume of a series of historical and mythological films.» Definite Gianni Nunnari: «The message of this film is the following: find your place in life and take your responsibilities! If you reach it, you will lead an existence which exceeds all your hopes.» Gianni Nunnari précise : « Le message de ce film est le suivant : trouvez votre place dans la vie et prenez vos responsabilités ! Si vous y parvenez, vous mènerez une existence qui dépasse toutes vos espérances. »
THE IMMORTALS tells the legend of Thésée, a simple young man who sees himself entrusting the fate of the humanity. Scenario is drawn of news initially written by Charley Parlapanides, who adapted it for the cinema in collaboration with his brother, Vlas. Both men had before worked in front of and behind the camera but with THE IMMORTALS, they sign the writing of their first blockbuster. This hectic adventure on bottom of Greek mythology starts when the Gods of Olympe dethrone their precursors, the Titans, and imprison their surviving enemies in the entrails of a mountain.
Charley Parlapanides entrusts: «In our adventure, everybody forgot the Titans, until a man, Hypérion, finds a dead Titan. Hypérion wants to liberate the surviving Titans to win the world. He represents bloody madness and manages to persuade others of his ideas. The humanity is jeopardised and the Gods also.» Charley Parlapanides adds: «We leant on pictures of popular culture which we adapted to our vision. A simple man is in the centre of an epic poem which will make of him a hero and a martyr.» Charley Parlapanides ajoute : « Nous nous sommes appuyés sur des images de la culture populaire que nous avons adaptées à notre vision. Un homme simple se retrouve au centre d’une épopée qui fera de lui un héros et un martyr. »
In this adaptation of mythology, Thésée is a modest young man whose mother was slaughtered during a raid of Hypérion. The only person whom he loved having disappeared, the young man doesn't have more than a desire: avenge his death. Vlas Parlapanides explains: «Thésée wasn't spared by life. Born hybrid, he finds himself currently cast in a situation of the most perilous. His reaction says a lot about his personality there: first mad with rage and with grief, he realises that stakes exceed from a distance his only person.»
The author follows: «Thésée and the king Hypérion is as both faces of the same room. Between other common points, they both knew persecution and subjugation. The one chose the darkest reaction, not the other one.» Mark Canton comments: «Hypérion tried the trouble but he has his own ethics. The film is a game of chess between good and evil. Besides, it is the case of all our productions. We don't want to see them systematically ending with the victory of good against the villains. The world doesn't work so. On the contrary, we appreciate that the adventures of our heroes have a direct impact on the future of their world.» Mark Canton commente : « Hypérion a goûté au mal mais il possède sa propre éthique. Le film est une partie d'échecs entre le bien et le mal. D’ailleurs, c'est le cas de toutes nos productions. Nous ne voulons pas les voir systématiquement se conclure par la victoire des bons contre les méchants. Le monde ne fonctionne pas ainsi. Par contre, nous apprécions que les aventures de nos héros aient un impact direct sur le futur de leur univers. »
The producers knew that they kept the bases of an unique plan, on the condition of finding the film director capable of drawing the perfect example. Mark Canton entrusts: «We knew both Tarsem Singh, with whom we longed to work. It is a very talented film-maker. »Tarsem Singh has already been the author of two visually impressive films, TEA CELL and TEA FALL. The producer Ryan Kavanaugh, CEO of Relativity Medium, explains: «Tarsem is not only a gifted film director, but also it is an accomplished artist. The film is a popular blockbuster but he has never summed it up in it. Tarsem scrupulously thought of every plan of every scene of the film. He knew beforehand the colour of sandals and the form of the sword of every character.» Tarsem Singh était déjà l’auteur de deux films visuellement saisissants, THE CELL et THE FALL. Le producteur Ryan Kavanaugh, PDG de Relativity Media, explique : « Tarsem n’est pas seulement un réalisateur talentueux, c’est un artiste accompli. Le film est une superproduction populaire mais il ne l’a jamais résumé à cela. Tarsem a scrupuleusement pensé chaque plan de chaque scène du film. Il connaissait par avance la couleur des sandales et la forme de l’épée de chaque personnage. »
Tarsem Singh entrusts: «I used plan as Trojan horse. It was the means to make concrete my large-scale personal vision. I love the Greek myths and I was intrigued by relation between the human beings and the Gods. But I didn't want to respect the original legend in the letter. As the painters of Renaissance, we could perfectly use mythology as working base and graft to it elements more adapted in our epoch.»
Creative force and ideas of Tarsem Singh allowed to feed and to bring some change in scenario. Nevertheless, nobody has ever lost sight of the mind of the film. THE IMMORTALS is first of all an action film and film of adventures filled with audacious waterfalls, with unpublished special effects and fort of the unique feelings which only the 3D can give. Gianni Nunnari comments: «Tarsem tried permanently to create and to introduce unpublished things. He often surprised me. In this film, he explores of new ways of treating pictures. It is young, cool, original, with a good dose of testosterone!»
Mark Canton confirms: «Full eyes is taken, danger is everywhere. But the human history is seeded with dangers, just as mythology. Who would like an adventure without danger?»

Heroes and monsters:
THE IMMORTALS be based on three charismatic characters: the king Hypérion, a mad warrior decided to win the world; Thésée, a young adventurer who tries to destroy Hypérion to avenge the death of his mother; and Zeus, master of Olympe and supreme authority among the Gods of ancient Greece. Their rivalry launches an epic battle the humanity of which could be the victim. Gianni Nunnari entrusts: «For these roles, we needed actors except norms, but they had to understand that the film would remain the biggest star of plan.»
From the installation of casting, the producers and the film director admitted that Thésée must be represented by an actor whose reputation didn't risk eclipsing his character. Henry Cavill began being admitted for his role of Charles Brandon in televised series "Les Tudors". At that time he hadn't been chosen yet to represent new Superman in MAN OF STEEL of Zack Snyder.
Tarsem Singh remembers: «Scenario was still in development when we met Henry. We asked him to read a passage in its own way and we made some adjustments. After three completely different reading, we noticed his versatility. Since then, not much scenario imported the way would evolve: he was sure that Henry would be at the height.»
Henry Cavill explains: «I was impatient to work with Tarsem Singh and I was always enthralled by the ancient mythology. When I discovered scenario, it was still far from being finished, but Tarsem knew precisely what he wanted and the passion was very conversational. Thésée is an interesting character because he evolves in the course of adventure. From sound more youth, it is ostracised from the society, and to him rejects it in return. His mother is the only person whom he really loves, but it is a clever boy. He asks questions and doesn't follow left luggage offices blindly. A mysterious old man takes it under his wing and teaches him philosophy and techniques of battle. Adult, he becomes an inured combatant.»
The actor adds: «I little used my knowledge of mythology to construct my character. The film allows to establish some parallels with the popular mythology of Thésée, but it very differs from the traditional myth. It is about a battle of men facing other men. There are Gods and Titans, but they don't interfere directly in human business.»
Rather than to perform pushed historical researches, Henry Cavill tried to understand the world of Tarsem Singh. The actor follows: «Tarsem explained me what were his sources of inspiration and how he intended to use visual effects. He gave me the characteristics of the character of Thésée, but final scenario was revealed to us only a few days before filming. Tarsem he, had already entirely included him.»
Henry Cavill points out: «The passion of the film director took us all. We would have anything made for him. It invested ten times more energy in this plan than whoever on the set. Tarsem has an incredible capacity to share the vision and the waitings.»
The team of the film didn't want to recruit big star. She however made exception with a ruler by choosing Mickey Rourke as the role of the monstrous king Hypérion. Reputed for his capacity to represent completely different roles, the actor brings a real dimension to his baleful character. This role marks another decisive stage of the comeback tremendous of the star since its nomination to Oscars in TEA WRESTLER.
Mark Canton entrusts: «In life, Mickey Rourke is unassuming and honest. Its huge talent allowed him to return on the front of the stage and today, he finds respect and opportunities which he really deserves. On filming, when he asked a question, it has never been for him but still in interest of the film.» Tarsem Singh intervenes: «It doesn't exist of« bad boy »more original than Mickey Rourke. He is authentic and I didn't try to change him. I gave left luggage offices very specific for other actors, but Mickey had permission to bring what he wished to the character. And he really enriched his retorts.» Thésée has several travelling companions: Phèdre, a clairvoyant priestess played by Freida Pinto, Stavros, a not very advisable character represented by Stephen Dorff, and a monk who protects Phèdre. Tarsem Singh intervient : « Il n’existe pas de « bad boy » plus original que Mickey Rourke. Il est authentique et je n’ai pas cherché à le changer. Je donnais des consignes très spécifiques aux autres acteurs, mais Mickey avait la permission d’apporter ce qu’il souhaitait au personnage. Et il a vraiment enrichi ses répliques. » Thésée a plusieurs compagnons de voyage : Phèdre, une prêtresse extralucide jouée par Freida Pinto, Stavros, un personnage peu recommandable incarné par Stephen Dorff, et un moine qui protège Phèdre.
Tarsem Singh points out: «A thief, a slave, a monk and a priestess. Here is the most unlikely of teams for the most important of missions... »Freida Pinto is a young English actress of Indian origin who started in the cinema in the film with Oscars SLUMDOG MILLIONAIRE. Freida Pinto est une jeune actrice anglaise d’origine indienne qui a débuté au cinéma dans le film à Oscars SLUMDOG MILLIONAIRE.
Mark Canton explains: «I knew that Freida Pinto would be our Phèdre. Àl' screen, she is incredible! She puts itself tremendously into her job, it is a true professional. That she interpreter Phèdre was for us an obviousness.» Gianni Nunnari acquiesces: «Some actors or actresses grow during a filming and it was the case of Freida.» Gianni Nunnari acquiesce : « Certains acteurs ou actrices grandissent pendant un tournage et ce fut le cas de Freida. »
The mysterious and impressive beauty of Freida Pinto immediately liked in Tarsem Singh. The film director explains: «Phèdre had to have a physical appearance more exotic than others. People expected a Greek actress perhaps, but it isn't as it that I imagined things. When I met Freida, I right away admitted the ideal which I searched.»
Freida Pinto entrusts: «I became fan of Tarsem Singh since TEA FALL. I was fascinated by this enchanting film which puts all your senses on the alert. When I met Tarsem for the first time, I didn't know in what to wait for me. He explained me reasons that they encouraged him to make this film and for what he expected from actors. Everything seemed fantastic, absolutely fabulous. I wanted that to be more part very of adventure.»
Raised among other priestesses, Phèdre is reputed to have a particularly developed donation of clairvoyance. However, if his visions are real, they are not less ambiguous there. Freida Pinto explains: «His visions are very worrying because she never knows really what is going to take place. She receives the picture of Thésée but she doesn't know who he is. He keeps the belt of the emperor, what means that he could be the rescuer. But she immediately doesn't trust in him. His fears will get up according to search.»
The actress follows: «It is a chance to have been run by Tarsem Singh for my first big film. Tarsem is one of the film directors the most invigorating whom it is possible to meet. In such blockbuster, the time, it is really some money. But Tarsem always remained patient and opened to suggestions. When you work on a film of such largeness, you live on explosive emotions and I am happy to have managed to get what I wished to the screen.»
Having filled with enthusiasm the public and the critics thanks to its role of Hollywood playboy in SOMEWHERE of Sofia Coppola, Stephen Dorff endorses the role of Stavros, the ally and friend of Thésée. The actor explains: «It is an unique character who says what he feels like saying and who makes what he feels like making. I liked his sense of humour and his mystery. At the bottom, nobody really knows who he is nor if it is a type well. Between Thésée and shone, reports were controversial for a long time. But at instant, Thésée realises that Stavros supports him. His help will be precious.»
Tarsem Singh comments: «Stavros is the type of type who thinks to be special, and they wonder very why! Something at Stephen stuck perfectly on it. It clears a small presumptuous side improved for the role.» Stephen Dorff resumes: «Tarsem Singh showed an energy, an absolute involvement and an impressive effectiveness. A captain as high as the film was needed. Tarsem never stops; he never has a rest. When you turn in such production, you tell yourself that the public must get his money's worth there. And I think that it is case!» Stephen Dorff reprend : « Tarsem Singh a fait preuve d’une énergie, d’une implication absolue et d’une efficacité impressionnante. Il fallait un capitaine à la hauteur du film. Tarsem ne s'arrête jamais ; il ne se repose jamais. Quand vous tournez dans une telle production, vous vous dites que le public doit en avoir pour son argent. Et je pense que c’est le cas ! »

Gods and goddesses:
In THE IMMORTALS, the Gods of Olympe follow events of the Earth with interest. Tarsem Singh decided to represent them in an original way. The film director explains: «I wanted that the Gods are every young people. The wisdom going hand in hand with age, the painters of Renaissance represented the Gods under features of old persons to the perfect bodies. In a film, you can reach this result only by using numerical effects. Personally, I left principle that when they are a God, they have no reason to be old. If I lived in the mount Olympe and what I could choose my appearance, I wouldn't carry white beard!»
Among the troops of first young people who play the Gods and goddesses, they find: Luke Evans, recently interpreter beside John Cusack de RAVEN, Kellan Lutz of the series of TWILIGHT and Isabel Lucas de TRANSFORMERS 2: REVENGE. Zeus, the God of the Gods interpreted by Luke Evans, dissuades his similar Olympians from interfering in the problems of the humanity while his daughter Athena, played by Isabel Lucas, goddess of wisdom and of war, thinks of the development of peaceful solutions for the human beings. As for Poséidon, that Kellan Lutz represents, he helps the men mischievously by oblique means. Luke Evans points out: «As king of Gods, Zeus is supposed to notice, not to act. For him, not much import circumstances, what must arrive arrive. It is held in this divine rule and tries hard to support order among the Gods, but they don't listen to it.»
The young actor follows: «I was passionate at the idea of working with Henry Cavill and Tarsem Singh. I have a lot of respect as Henry. I appreciate what he makes and we know each other since instant. It is always very nice to work with somebody who was met except the work. Concerning, Tarsem, I challenge whoever to see one of his films and not to be dumbfounded by the beauty of pictures. He has a sense of narration which I had never met at a film director's. The only perspective to work with him was a good reason to make the film.»
Kellan Lutz grew with a fascination for Greek mythology, and with a particular predilection for Poséidon. He explains: «I am the astrological sign of Pisces and I want to swim. Besides, my parents nicknamed me« fish» when I was small. In the film, Poséidon is a bit the favourite uncle. He is the brother of Zeus and the uncle of the younger Gods. Zeus and are linked to him by a fraternal rivalry. They quickly realise that, when its brother forbids him something, Poséidon always finds a means diverted to reach its aims.»
Kellan Lutz adds: «I really appreciate the way scenario approaches Greek mythology and brings him a new breath. It is an audacious and original, dark film. Visually, he is amazing. Stages and techniques of battle are to take breath away. I love this new version of the legend!»
Camped by Isabel Lucas, the goddess Athena tries hard to help Thésée and his companions in spite of the ban of her father. The actress explains: «In all stories, Zeus and his daughter Athena are always very close. She is her favourite and thinks to be able to take out with impunity. »Isabel Lucas follows: «Tarsem Singh is generous and extremely patient. In spite of his intense activity in set between two catches, he leaves you always of time.» Isabel Lucas poursuit : « Tarsem Singh est généreux et extrêmement patient. Malgré son intense activité en plateau entre deux prises, il vous laisse toujours du temps. »

Divine light:
During their first meeting, the film director Tarsem Singh came in front of the producers with a cardboard with drawings filled with reproductions of painting to illustrate his vision of the film. Tucker Tooley, executive producer of the film, remembers: «This meeting surprised us. Tarsem showed us a big cloth that they would have straight said taken out from a museum. At first glance, painting had got nothing to do with the idea which we made of the film, but Tarsem explained and everything became clearer.»
Visually, he wished that THE IMMORTALS an atypical genius of Italian baroque period draws inspiration from writings of Caravage. This transgressif artist was one of the first to use living models for the representation of religious and mythological topics. He used saturated colours, theatrical light – he was a pioneer of the technology of chiaroscuro – and instilled an impression of movement into writings of a big emotion. Its style marked a break with other painting more static and more borrowed by Renaissance and launched passions and debates. This ambitious approach didn't miss to entice the producers.
The film director collaborated closely with the interior decorators and the technical teams to recreate this use of such a characteristic light of the writings of Caravage. Tarsem Singh explains: «We nicknamed her« the light of the hand of God». It is a directed brightness which seems to come from a distant source.»
The artistic director Michael Manson comments: «Vision and creative courage of Tarsem Singh make THE IMMORTALS of the film an epic poem of a new type. Between our department and Tarsem, it is a long history. We collaborated closely lasting about fifteen years, where from our very good communication. Every time, everything leaves its interpretation of scenario. Then, we run libraries, we go surfing on the web and we visit museums. Once gathered information, we choose keepings, making-up, prosthesis and special effects. Everybody puts on there.»
Tarsem Singh and his concepteurs preferred inventing an original dream world rather than to register adventure in true historical epoch. Charley Parlapanides explains: «We are neither at the time of minoenne civilisation nor at the age of bronze, but at the age Tarsem! The Gods of Olympe and the Titans under a completely unpublished angle are discovered. It isn't about the recognizable world but about the world mainly taken out from the imagination of Tarsem, dark and violent breathtaking.»
Rewarded by an Oscar for DRACULA DE FRANCIS FORD COPPOLA, the costumer Eiko Ishioka is well known for her creations to the cinema, to theatre, to television and in advertising. She is also a respectable visual artist whose job is introduced in the permanent collections of the modern Art museum of New York. His point of view iconoclast on the world perfectly won with that of Tarsem Singh.
The film director explains: «It would have been damage to hire an artist such as Eiko Ishioka to kerbs its creativity finally by making him copy the classicism of ancient Greece. It is useless to say to him: «Go out of tracks beaten», because she doesn't know what are the beaten tracks. She comes from a parallel world to ours!» The film director specifies: «However, THE IMMORTALS rest an action film. I had to be sure that Eiko would create costumes which wouldn't prevent the actors from moving.» Le réalisateur précise : « Toutefois, LES IMMORTELS reste un film d'action. Je devais m’assurer qu’Eiko créerait des costumes qui n’empêcheraient pas les acteurs de bouger. »
Gifted, the Japanese costumer studied art and fashion design before starting a career in the cinema. For the film, she envisaged the conception of costumes as «a tremendous creative collaboration in the enchanting world». But she realised that her excesses of fancy needed to be tempered and to being anchored in reality. She entrusts: «In stage of creation, I often have mad ideas, but costumes were to be functional. To assure me, I solicited the assistant of the actors. I think that actors and fashion designers should always collaborate.»
Freida Pinto tells: «Eiko conceived splendid costumes for everybody but some efforts were needed before they become a second skin. We had to keep some position to introduce them always under the best day. Anyhow, keepings constituted one of the essential elements of this surrealist world. Personally, I wore an incredible red girdle, a red skirt joined and a blackout. I felt comfortable in this keeping. She had nothing vulgar. Openings weren't too numerous and had just put in the good places. Eiko has a very pretty vision of female sensuality.»
Kellan Lutz intervenes: «My costume of Poséidon wasn't easy to hit, especially during the sequences of battle. I carry a big particularly hard helmet during battles. But it serves the character irrefutably.» Eiko Ishioka entrusts: «The most difficult was to create realistic armours. I wanted to use bright materials for masks or helmets, but reflexions would have been able to parasitize filming on green bottom. I didn't want that armours make fake. Therefore no way to fabricate wooden breast-plates or this type of thing. They didn't have to be too bright but the audience has to feel of metal». Eiko Ishioka confie : « Le plus difficile était de créer des armures réalistes. Je voulais utiliser des matériaux brillants pour les masques ou les casques, mais les reflets auraient pu parasiter le tournage sur fond vert. Je ne voulais pas que les armures fassent toc. Donc pas question de fabriquer des plastrons en bois ou ce genre de chose. Elles ne devaient pas être trop brillantes mais il fallait que les spectateurs aient une impression de métal ».
Original creations of the fashion designer Eiko Ishioka were supplemented by job of leader make-up artist Nikoletta Skarlatos, who tells: «Tom Foden, the leader interior decorator, introduced me environments to help me to specify the look of the characters. I performed a tremendous number of researches before offering my ideas to Tarsem and Eiko because I admire them. They inspire me a lot. Besides, I knew that this film was a tremendous opportunity to accomplish something extraordinary. Of course, I leant on mythological references, but I wanted to create something unpublished. This film demanded a huge job of making-up. New technologies and very high definition of pictures considerably raised the level of requirement of job. Numerical betrays up to the slightest details, and the 3D lets nothing pass. But we tried to be the most definite possible.» Nikoletta Skarlatos and Freida Pinto worked together on the look of Phèdre. The make-up artist resumes: «The making-up of the eyes is that of a traditional Indian nor the same that of Western one today's. Result very differs. Look is mysterious and tinted with nuances which tend to remind of its oracle's quality and to be extraordinary.» Nikoletta Skarlatos et Freida Pinto ont travaillé ensemble au look de Phèdre. La maquilleuse reprend : « Le maquillage de ses yeux n'est pas celui d’une Indienne traditionnelle ni même celui d’une Occidentale d’aujourd’hui. Le résultat est très différent. Le regard est mystérieux et teinté de nuances qui tendent à rappeler sa qualité d’oracle et d’être extraordinaire. »
Hairstyle and making-up helped Freida Pinto to enter the skin of the mystic Phèdre. The actress confirms: «They applied me colours of hair which I didn't know, can added some extensions and a plait. I had feeling suddenly to belong to another epoch. I swapped then my jeans and my T-shirt to slip on my dress and suddenly, Phèdre appeared!»
Before, Nikoletta Skarlatos had worked on PIRATES OF THE CARIBBEAN: TO THE END OF THE WORLD And THOR. For THE IMMORTALS, she also participated in the creation of blood and of special making-up. She specifies: «The blood can be darkened. We worked with the manager of the photograph to create a blood adapted on the lighting of day and other one for night.»

The world of the myth:
THE IMMORTALS include a tremendous number of visual effects and waterfalls. The team used last techniques in 3D and special effects to include harmoniously the numerical worlds into physical reality. To make easier the technical installation and logistics of the world imagined by Tarsem Singh, the producers decided to shelter the entirety of filming in the studios of the City of the Cinema in Montreal. Everything is united under the same roof: offices of production, special effects, artistic department and visual effects.
Technically, Tarsem Singh encircled itself with longstanding collaborators: the manager of the photograph Brendan Galvin and the leader interior decorator Tom Foden. The film director entrusts: «The film cuts visually on what we had made before, and as I quickly work, technical support and reactivity of my collaborators tells all difference.»
Jack Geist, producer of visual effects, and Raymond Gieringer, supervisor, were made responsible for working out the spectacular effects of the film. Raymond Gieringer declares: «In themselves, environments were already big show. We then included into it a multitude of effects: stages of battle colossal, collapses of mountains, clashes between Gods and Titans In total, more than hundred plans of the film include special effects.»
Physically, huge installations allowed to build about twenty decors, each of them concerning the different virtual world. Some gave a view even to 360 degrees.
Raymond Gieringer tells: «The different departments worked hand in hand to assure the cohesion of filming. We had to immerse ourselves in these decors and create an environment around. Tom Foden and the artistic director Michael Manson worked on our sides to make exchanges easier between the real and the virtual.»
Jack Geist and Raymond Gieringer were very early involved in plan to help Tarsem Singh to conceptualise his film.
Raymond Gieringer explains: «Tarsem knew exactly what he wanted to centre and the precision on filming was incredible. He very differs from film directors whom I met before. In the final, we reached a particularly aesthetic result. The film is splendid and the investment in visual effects entirely justified.»
To reach such visual feat, the filming of the IMMORTALS required the use of leading-edge technologies. In stage of preproduction, the film-makers set up a system called InterSense, already used MISHAP for the film.
Jeff Waxman, at the same time acting producer and executive producer, explains: «This system allowed to Tarsem to determine precisely which parts of the decor must be constructed and who would be numerically included. It allowed us to fabricate our decors exactly in required size. Everything was conceived of the months beforehand. We manufactured the wholeness of environments on computer. The artistic department was made responsible for conceiving physically the parts of decors which are going to integrate with these virtual environments. The fact that everything is regrouped on the same place allowed to Tarsem to co-ordinate more easily the different teams and to add its modifications progressively.»
Ryan Kavanaugh intervenes: «Technology advances so quickly as we could already go beyond what was possible at the time when James Cameron turned MISHAP. In front of the computer, Tarsem could prévisualiser stages. He could see sequences even before they are turned. He could so choose best angle, cutting up and best focal length. This system also allowed him to create pictures 3D of an exceptional realism and to determine better how to draw the best party of the different constituents of the picture.»
During filming, the film director used another called leading-edge technology Moses. The manager of the photograph Brendan Galvin explains: «Moses is one of many systems allowing to prévisualiser sequences by including into it extensions and numerical decors. Tarsem could see a person going down from a mountain which didn't exist. We used this technology in sequence where they see the camping of force of Héraklion since the monastery. In this plan, nothing of what you see really exist.»
Tarsem Singh notes: «Linked to a constant worry of the detail in stage of preproduction, the Moses system allowed me to create perfectly composed plans. It was as to create master's cloth. If some films are constructed as comic strips, THE IMMORTALS am rather similar in painter's fresco. I showed the numerical elements real-time, what allowed me to control the composition of my cloth.»
 
Work in another dimension:
With its divinities, its epic battles and its panoramas to take breath away, THE IMMORTALS an outstanding production is. From the beginning, the originators of plan envisaged it as much more than a film 3D classic. Tucker Tooley, executive producer, comments: «Tarsem has a vision of the things which isn't that of most people, he looks at the world in another way. He makes films which go out completely of the common place because he brings in the history of the elements that nobody else than would have imagined him. To make concrete this unique point of view, we conceived the film there 3D from any beginning. Everything was worked out to optimise three-dimensional effect.»
The choice was made to turn by using traditional cameras there 2D, the 3D being added only in stage of postproduction. This process allowed to Tarsem Singh to control better the depth of field and the dynamics of pictures. Tucker Tooley resumes: «Before turning the slightest picture, we had predetermined all elements constituting the different levels of plan – foreground, second place, background... The slightest element of each of the pictures was conceived with the aim of final process of dimensionnalisation there 3D.»
The film director worked with the stéréographe David Stump from 3DCG to work out a detailed ciphering and a technical valuation of scenario in adequacy with the vision of the film director. Tarsem Singh comments: «It tells difference right away. We took the time and more important, we planned everything to make things as it was needed. It changes everything.»
The revolutionary visual aspect of the film was entrusted to Bonus Focus, the society of effects 3D already implicated in the creation of the tridimensionnalité of blockbusters such as STAR WARS EPISODE 1: THREAT GHOST And HARRY POTTER AND THE RELICS OF DEATH – 2nd PART. The recent technological advances such as the View-D software of Bonus Focus gave to Tarsem Singh an unequalled suppleness in the creation of visual contents.
With 4000 artists and technicians divided on three continents, Bonus Focus could mobilise important resources to make concrete the plans of Tarsem Singh. Bobby Jaffee, marketing manager of Bonus Focus, declares: «In every film, difficulty is to compose a team of artists specifically adapted to the needs of the film director. Requirements of George Lucas or of Michael Bay differ from those of Tarsem Singh. »David Stump notes: «The vision of Tarsem served as a basis for us of job. He asked us to give the volume to the characters. The audience had to receive them as living sculptures.» David Stump note : « La vision de Tarsem nous a servi de base de travail. Il nous a demandé de donner du volume aux personnages. Les spectateurs devaient les percevoir comme des sculptures vivantes. »
As film director, Tarsem Singh considers technology 3D to be a natural extension of visual style which he developed during the career, that it is about advertising or about cinema. He explains: «This adventure would have been able to be told of a lot of ways. But I think that my sense of the aesthetics gets married well in the 3D. I often compare my stages with pictures and I draw up generally long plans – two characteristics which take part particularly in the 3D. I make few quick cuts in assemblage and few of very close-ups because it doesn't work very well in this format. Finally, I didn't have effort to be made to adapt me to this technology. She was completely suitable for me.»
David Stump comments: «Process of dimensionnalisation there 3D can be slow and difficult but he brings a remarkable added value in the final product. He required working months, however to include the 3D in postproduction gave us more control. We could abolish and add elements to any place of the film. In the final, we neglected no detail and nothing is on its place by chance.»
As Tarsem Singh had anticipated him, the 3D served its pictures inspired in perfection. Merzin Tavaria, co-founder and manager of creation of Bonus Focus, comments: «It was a true performance test that this film. The level of detail of sequences, notably concerning the Titans, introduced true technical challenges. But finally, we are satisfied with result and happy to have been able to fill up waitings of Tarsem. Regularly, we showed him plans and he displayed us his waitings concerning their emphasis. We worked the depth of every picture, of the first in the background. This process allowed us to accomplish a work of an extreme quality.»
Ken Halsband, responsible for production to Relativity Media, declares: «The finished film has a depth and a volume never seen on a screen of cinema. What is new, it is that we succeeded in creating a film there 3D which has a deeply artistic nature. Everything, decors in costumes, was conceived to give to the spectator« experience 3D ultimate». We used this fabulous technology better than ever, in a more careful way and with an approach of artists. It is indeed unprecedented.»
Tucker Tooley confirms: «Tarsem created a new world. More the audience will feel« enveloped »visually, more they will feel loaded in the middle of adventure. Technology 3D is a tremendous means to reach it.»
A divine speed:
The undying heroes of Tarsem Singh, the Gods and goddesses of the mount Olympe, surpass their human counterparts in beauty, in force and in speed. The film director idealised them, they are supernatural beings. Tarsem Singh comments: «They had to be in full physical form. It was a criterion mattering at the time of casting.»
Some superhuman aptitude is the result of the creativeness of Tarsem Singh in use of the camera. This one explains: «I wanted to put the Gods at another level than that of men. During the stages of battle, they move much more fast than the human beings, what enriches action. All our battles differ. Those who compare the human beings between them take place real-time. Those who compare the Gods between them also seem to take place real-time, since they all evolve in the same speed. On the contrary, when the Gods and human beings confront one another, these last seem frozen on the spot.»
Tarsem Singh comments: «Sometimes, three types of battle take place at the same time. I find rather magical effect. We turned the thing from the point of view of the Gods then from the point of view of men, what required four days of set in total. The human beings advance at a slower pace, practically petrified, while the Gods are lively as the flash of lightning. Battle isn't equitable.»
Brendan Galvin explains: «Magic comes from gears of camera. In 500 frames per second, everything really begins decelerating, and if vouspassez in 1000, the simplest movement can seem static. It is an unreal speed and you have feeling to penetrate into another dimension because, at this speed, nothing avoids your look. They are accustomed to this frequency of high picture notably for sports on the television. At a lower speed, perception differs enough.»
Mark Canton specifies: "This" famous »divine speed wonderfully the way special effects make integral part of history and of narration. See the Gods moving in brief speed of it and the human beings at a slower pace produced more than a simple effect of cinema. Nobody had ever tried to manipulate the time differently for two types of characters in the same film. THE IMMORTALS a film isn't, it is an experience which hits minds, just as STAR WARS was it at its time.»

Light, camera, action and some more action:
Wingspan, quantity and boldness of ambitious battles of the film required an army of choreographers, of coaches and of stunt men. It was necessary to form people in all kinds of battle, handling of the sword in the art of karate. The perfecting of battles started six months before the beginning of filming to get most realism, intensity and possible danger. Definite Tarsem Singh: «I wanted stages of battle more realistic and less stylised than those who are generally found in the contemporary films. I wanted to see true physical struggles, weapon at the hand. Some trickeries were accomplished with cables but we used no substitute in physical battle. It is possible to smell impacts!»
The producers hired the co-ordinator of waterfalls Artie Malesci, who worked VICE on MIAMI: TWO COPS IN MIAMI, some of the CONVEYORS and on televised series "Burn Notice". Thirteen combatants of Montreal trained and have repeated for three months to be operational the day of filming. Artie Malesci declares: «Result, it is non-stop action from start to finish! We recorded our trials beforehand to show them to Tarsem. He approved or not, and we added modifications. We shared our time between the repetition of our choreography and the preparation of the actors. The stunt men trained every day, five days a week. They really worked hard. If they hadn't been at the top of their physical form, they wouldn't have been able to make this film.»
For Henry Cavill, intense physical training began six months before filming. The film director Tarsem Singh explains:« When I met Henry, he was in trim. But I said to him that he couldn't content himself with his chocolate bars. To get the role, he needed all bar! He had to lose the basics of his fatty mass. He launched into an incredible regime and at first sight himself, I knew that he was completely invested in his role.» Henry Cavill received what he calls «briefings of training» where he was asked to bring photographic proof of his progress. He remembers: «Before the final briefing, I made nothing else only drawing away. I spent eight hours a day in gymnasium, spent five days a week.»
Freida Pinto notes: «All this training paid. Tarsem had explained me that the actors had to suffer transformations and that their body is going really to suffer. But I confess that before meeting Henry, I didn't accomplish to what extent. He was really sharpened as a God.» Gianni Nunnari adds: «I had never met somebody so whet physically. Henry spent months to sculpt his body.» Gianni Nunnari ajoute : « Je n’avais jamais rencontré quelqu’un d’aussi affûté physiquement. Henry a passé des mois à sculpter son corps. »
Training also allowed to Henry Cavill to acquire competences varied in battle. The actor specifies: «Every day, I learnt something once again, so at the end, I had acquired many working tools. Whatever is asked me, I was parried.»
Henry Cavill follows:« Of course, the stages of battle wouldn't have existed without the expertise of the teams of stunt men. They are fiendishly good. Some warlike choreography was complex and difficult. I had to control them completely because they were often filmed in uninterrupted plans-sequences and if whatever it is skidded, it was necessary to take everything back. The stage of the final one-to-one debate between Thésée and the king Hypérion was the most difficult because it is extremely realistic. It is a violent and incoherent battle. Both men are exhausted, despaired and they are ready to cut the throat. It is a painful experience and without device which takes place in a reduced space. Thésée and Hypérion throws itself mutually against walls and get worked up with all what falls them under the hand. It is a human representation of conflict between the Gods and the Titans. Their clash is a mixture of jujitsu and of graeco-roman struggle, but two fanatical types are especially seen rushing the one on other one.»
Tarsem Singh intervenes: «I was fond that this final struggle takes place in a confined space. Open-air, I would have more had trouble. I prefer the cramped places. Here, I created what I would call " neck of strangling». Both characters leave the battlefield to lock themselves in a tunnel. War is transformed struggling personal.»
Henry Cavill resumes: «This sequence is spectacular. She asked all technical departments for a tremendous number of job. Choreography was complex but on the screen, result is fantastic. I was exhausted and broken at the end of the second day. I didn't have more than to come back at home to collapse.»
Tarsem Singh launched an additional challenge himself by deciding to film three distinct battles at the same time during final outcome. He explains: «Three battles rage in parallel in this tunnel: Thésée and Hypérion devote themselves to one« mano has mano», the human beings try to stop " non-human beings» and the Gods try to contain the Titans. We have three types of battles: the one who moves, the one who surprises and the one who impresses.»
The big diversity of the styles of battle imposed a true challenge on the stunt men. The film director notices:« When the Gods fight with the human beings, it is about a type of completely different battle. When they fight against other Gods or against Titans who have the same powers, it still differs. Leaving from there, how to represent all these styles of battle? For the stunt men, this wasn't obvious. They prepared a stage, but the following answered in no way the same rules.»
According to the producers, Tarsem Singh has never demanded more others than himself. Mark Canton remembers: «Tarsem was always the first arriving on the set and the last to leave. He didn't take one minute to sit down and didn't use caravan. He came fair to paint his masterpiece. And we are happy to have been able to give him his brushes.»
He concludes: «All our films are special but this one has something inexpressible. It is an epic trip which alone a visionary could accomplish.»

Gods and immortals:
THÉSÉE / Henry Cavill: Born without father in a village of province, Thésée always confronted ostracism and humiliation. But an old mysterious man is going to form him in battle and teaches him philosophy. When its mother is savagely assassinated, Thésée becomes the slave of the cruel king Hypérion. Oppressed, the young peasant is going to use his education to be transformed into an invincible warrior. Having avoided his jailers, this new hero of the people draws his companions away in a battle against baleful force of Hypérion. Together, they are going to try to protect the humanity of the return of the Titans.
THE KING HYPÉRION / Mickey Rourke: Dreadfully disfigured further to a brawl with conquered Titans, Hypérion is despot thirsty one to be able who wants to win the world. Of a legendary brutality, he forces his soldiers to scarify themselves in homage to his person. He leads fierce legions of Héraklion in a massacre across Greece in search of the arch of Épire. Once in its possession, the arch will allow him to revive the Titans. These demigods who reigned in the past over the world before being deposed by the Gods of Olympe will allow him to lead a war which will threaten the future of the Gods and of the men.
ZEUS / Luke Evans / John Hurt: All-powerful King of the Gods of Olympe, Zeus predicted the cruel countryside of the king Hypérion against his lethal brothers. Secretly, he tries to prepare Thésée for becoming an audacious warrior capable of saving the humanity. In spite of his sympathy for the victims of Hypérion, he forbids strictly to other Gods of Olympe to take part in conflict, what launches a feeling of rebellion among the Gods.
PHÈDRE / Freida Pinto: Priestess always, Phèdre receives visions of future, but is unable to control them and to interpret them accurately. Searched by Hypérion who wants to use it to find the Arch, she hides as slave in her camping. His beauty, his wisdom and his goodness earn the heart of Thésée, which helps it to get away. Phèdre and his visions will guide the young man in the accomplishment of his destiny.
STAVROS / Stephen Dorff: Swindler and thief, Stavros was enslaved by Hypérion beside Phèdre and Thésée. Rebel, irreverent and shrewd, he becomes the loyal friend and the intimate friend of Thésée. He will fight valiantly by its sides to help him to conquer all dangers.
ATHENA / Isabel Lucas: Goddess of wisdom and girl preferred by Zeus, Athena is the most faithful ally of her father, her best advisor and her protector. But when a bloody war bursts on Earth and threatens to destroy the humanity, it outbraves Zeus and searches supports within the mount Olympe to help Thésée and his companions.
POSÉIDON / Kellan Lutz: God of the sea, Poséidon is commanded by its brother Zeus to let the humanity regulate only its conflicts, no matter what happens. But, following the example of Athena, Poséidon is going to follow its instinct and finds an ingenious means to help Thésée and his supporters.