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真實個案 嚇破銀幕
駭人潛水遇險事件 觸目驚心
野生鯊魚與演員真身演出
鯊海22小時
9月16日 命懸一線

故事大綱

在水中央，有儷影一雙…很詩意嗎？不。

假如你和你的愛人，被遺棄在海中心，浸在水中絕望地等待救援，以上情景又有何浪漫可言？這般荒謬的事，的確在世上發生過。

年青夫婦丹尼與蘇珊平日各有各忙，難得抽空到渡假聖地享受陽光與海灘，更參與最愛的潛水活動。然而當他們欣賞海底奇景之際，一時大意的船家卻將船隻駛走。二人浮出水面，才發現被遺留在海中心，周圍沒有陸地也沒有船隻靠近。趕走來襲的水母後，丹尼腿上的傷口又不停流血，附近更有大批鯊魚游弋。他們載浮載沉，在半身陷於未知的危機中，渡過畢生難忘的22小時。

以「真」為賣點的驚慄片

1998年，美國人湯姆路拿根與妻子艾蓮在澳洲大堡礁潛水時被遺留在海中，從此人間蒸發。導演基斯堅泰斯本身是個潛水愛好者，他參照雜誌對同類事件的報導，再從遇事者的生理心理反應方面進行資料搜集，寫出充滿實感的劇本。基斯堅泰斯則同時擔任導演、剪接、水底攝影的工作，其美籍華裔妻子劉立璟就負責製片及其餘場面的攝影。

攝製隊每個週末才出海拍攝，租一艘小艇，帶著攝影機就開工。早知拍攝時要吃盡苦頭的主角白蘭翠蕙恩與丹尼爾查維斯，在離岸二十里的海中一共浸了120小時。作品在今年的辛丹斯電影節放映之後，即獲發行商以高逾成本20倍的價錢購入。八月上旬《鯊》在美國四十七間戲院上映，平均票房收入不遜於全國開畫的大片，而且好評如潮，戲院陸續聞風加入。

真鯊與演員同場演出

《鯊海22小時》的賣點，是完全沒有借助電腦特技效果而營造出的恐懼氣氛，即是說片中看到的，都是真實的，包括在附近出沒的鯊魚。對，他們讓真鯊魚與演員同場演出。所以每次拍攝都備有一樣必須品，就是一桶桶血淋淋的吞拿魚肉，用來吸引這班臨時演員。誘餌一出，每次可引來多達五十條七八呎長的鯊魚，包括灰礁鯊及公牛鯊。「帶血的吞拿魚肉可以引鯊魚游近演員，但份量又不能太多，否則會令牠們殺氣騰騰。」「請」真鯊魚拍攝的好處，固然是將鯊魚活動的最真一面呈現；原來鯊魚浮上水面時，它的鰭並不如大家想像般，順暢地滑出水面。

身為監製的劉立璟，並未因成本問題而草菅人命。「我們的成本雖少，但絕對注重安全；寧可花點錢到巴哈馬的海域拍攝，因為那兒是有關鯊魚電影的取景熱點，那兒的鯊魚見慣大場面，不會隨便襲擊潛水者。而一些動作較大，會令鯊魚襲擊演員的戲份，都在牠們甚少出沒的日子完成。加上演員本身有潛水員執照，演員又會穿上安全衣，更請得鯊魚專家在旁指導，所以從未擔心過他們的安危。」

不過，在海中拍攝的第一天，白蘭翠蕙恩就被兇猛的梭魚(Barracuda)咬傷。「但我當時只想問導演要不要拍下傷勢。拍了起碼日後用得著。」丹尼爾查維斯更勇猛，這邊劉立璟正在餵鯊魚，他就在那邊跳下水，面對鯊魚仍毫無懼色。

演員的賣命演出固然重要，但能夠與自然競賽亦相當關鍵。「沒有燈光幫助，天色一有變化就要跳拍其他戲份，辛苦了演員們。但上天亦幫了一把，本來計劃好某日要拍攝水母；更打定輸數，要是沒有的話就回岸邊找找，豈料當天真的有水母在我們的船隻旁邊出沒。」

搏命演員--白蘭翠蕙恩、丹尼爾查維斯

女主角白蘭翠蕙恩曾參演過多部獨立電影，入行前當過健身舞教練、MTV頻道的幕後工作人員，進修演戲課程後毅然投身演藝界。有說她貌似本屆金像影后查理絲花朗，不妨比較一下。希望《鯊》片能令她早日脫離「A貨查理絲」的代號。而片中她的丈夫丹尼爾查維斯演出過大熱劇集《色慾都市》，首次接拍電影就夠膽親身跟鯊魚接觸，其搏命程度令不少人刮目相看。

《鯊海22小時》演職員表

LIONS GATE FILMS發行
PLUNGE PICTURES, L.L.C.呈獻
基斯堅泰斯/劉立璟作品
"鯊海22小時"
主演︰《五個行行企企的哨兵》白蘭翠蕙恩
　　　《色慾都市》丹尼爾查維斯
　　　《暴劫快車》辛史甸
音樂︰《盜墓者羅拉》基美韋維爾
助理監製︰劉立催
攝影︰基斯堅泰斯/劉立璟
監製︰劉立璟
剪接/編劇/導演︰基斯堅泰斯
發行商：安樂影片有限公司

Synopsis

Based on true events, OPEN WATER follows a young couple, Daniel and Susan, (Daniel Travis and Blanchard Ryan) on an island holiday. Even before they leave for the airport, we learn that Daniel and Susan's relationship is under strain from their workaholic lifestyles, and they need a vacation even more than they realized.

The next morning the couple, certified scuba divers, board a local dive boat for an underwater tour of the reef. The boat is crowded with other vacationers, and due to a series of innocent miscommunications, the couple is, after only 40 minutes or so underwater, accidentally left behind.

What follows is the story of their ordeal: cold, alone and miles from land, the couple is adrift in shark-infested waters.

While shining a light on how we often take our comfortable lives and our relationships for granted, OPEN WATER reminds us of the fragility and vulnerability of modern man in relation to the vast and indiscriminant power of nature.

About The Film

Writer-director Chris Kentis and producer Laura Lau took a killer "based on true events" premise -- a couple scuba diving in tropical waters is mistakenly abandoned in the middle of the ocean -- and went on to create an ingeniously harrowing, knees-to-your-chest thriller. Shot on weekends and holidays, OPEN WATER employs not a single cheesy special effect or computer generated image. Instead, actors Blanchard Ryan and Daniel Travis spent over 120 hours in the water twenty miles off shore amidst all kinds of sea life, including the real-life, honest-to-God sharks that give the film its chilling authenticity.

Capturing a breathtaking range of ocean light, from hypnotic aquamarine to treacherous blackness, OPEN WATER reminds us how much fun it is to be frightened by our most primal fears, namely what we think may linger just below the surface.

While shining a light on how we often take our comfortable lives and our relationships for granted, OPEN WATER reminds us of the fragility and vulnerability of modern man in relation to the vast and indiscriminant power of nature.

Like Susan and Daniel, the people who made OPEN WATER are certified open water scuba divers, and they are a couple. Unlike Susan and Daniel, Laura Lau and Chris Kentis are married and have a daughter. "The tension between the couple in the film," Lau told Salon during the 2004 Sundance Film Festival, "has nothing to do with our marriage!"

Lau and Kentis are very much a filmmaking team. Though their duties often overlap, Lau produced OPEN WATER and photographed the film with Kentis, who wrote, directed and edited the film, and was responsible for all in-the-water and underwater photography.

According to actress Blanchard Ryan, the team dynamic Lau and Kentis brought to OPEN WATER was an important part of making the film. "Working with a couple, it made us feel better, because it was a risky film on many levels: the nudity, the sharks, being in the ocean, having to carry a film when you're two actors no one knows. We trusted them and knew they weren't going to clash like other teams, and that was a comfortable feeling for us."

The water in OPEN WATER is every bit as much a title character as, say, a little boy's psychic abilities in "The Shining." Ubiquitous, beautiful, terrifying and ever changing, the ocean's water and the light it caught became the filmmakers' medium and inspiration. It also became a third member of the tiny crew, (the crew being Kentis, Lau, Lau's sister, and the boat captain), filling at times the role of gaffer, its shimmering, glassy or choppy surface hanging the different lights of the sun and the sky, the moon and even some ominous flashes of lightning. The ocean became a source of transportation as its winds and currents moved cast and crew from place to place. And it worked as a property master, bringing a tuft of kelp for this shot, a fleet of jellyfish and a razor-toothed barracuda for that.

But on some days, if the ocean had indeed been a crewmember, Lau and Kentis would have fired it.

"Everything was very tightly scripted," says Lau. "The sky would change and we'd have to jump to another scene." By the end of the shoot we actually lost a few days to fantastic weather, clear blue skies, bright sunshine, as the conditions were just too pristine for the scenes that remained."

"But most of the time, Mother Nature was totally on our side," said Kentis. "For instance the day we had scheduled to shoot the jellyfish scene." The jellyfish just showed up," recalls actor Daniel Travis. "And that's the only time during our whole shoot that we saw jellyfish," said Kentis. I had originally planned to go to a special location to find them for the underwater portion of the scene, but out of nowhere they came to us."

The idea for OPEN WATER came from a particular news event that circulated in dive magazines and newsletters a few years ago. The event centered around divers who had been stranded in the open ocean. Kentis, a scuba diver, began to research whether this was an isolated incident or a common occurrence. Through his research he learned that though it is very rare, other similar incidents had in fact occurred. He also did research on men left adrift at sea during wartime, through these accounts he learned more about the psychological and physiological changes the human mind and body undergoes under the stress of abandonment and exposure to the open sky and ocean.

"When I sat down to write the film, I wasn't interested in portraying the real people involved," Kentis explains. "I did no research on them. I didn't want to represent their relationship or their lives, out of respect for their privacy and because it was not pertinent to the story. We also wanted to leave the exact setting of our movie ambiguous, because we didn't want to lay that trip on anybody's tourist trade. What I was really interested in is the fact that this could and did happen, the terror of being alone at sea, what that was like-- and I thought it was a great cautionary tale."

Says Chris Kentis, " We blunder off into an exotic locale, cement over the place and serve each other drinks. We go with arrogance into these places, forgetting we're also animals in the food chain."

The food chain - and our place in it - is a recurring theme in OPEN WATER, and the manipulation of the food chain played an important part in its production. To create the drama inherent in the dilemma of a stranded couple slowly becoming food, Kentis and Lau shot most of the film in the open ocean off of the Bahamas. They worked with a local shark expert, who introduced them to a population of sharks that's had lots of exposure to people.

The shark experts and the filmmakers would manipulate the sharks' movements by throwing chunks of bloody tuna into the water, often near the actors.

Says Kentis, "We would throw bait in the water to get the sharks to move. But once too many pieces were in the water, the sharks would get really worked up, and then the actors would have to get out of the water. But Laura would still be shooting on her platform, which dipped in and out of the water as the sharks frenzied below. Sometimes she would shoot with her legs dangling in the water."

"That made Blanchard very nervous for me," adds Lau. "She would call out, 'Laura watch out, Laura be careful,' especially as we were throwing the bait in the water from that platform and it was covered with fish blood. But I knew the sharks weren't interested in me, and I trusted the wranglers we were working with." "We were working with top experts," echoes Kentis. Even though the director was often swarmed with sharks, he felt completely safe. "In the water, with the camera, I'd be getting bumped constantly," says Kentis. "There were times I'd look down, there would just be gray, no blue."

The sharks, mostly gray reef sharks with a few bull sharks averaging seven to eleven feet in length, numbered between 45 and 50.

The film's production schedule was also fitted around the work with the sharks. "All of the emotional stuff, the screaming and splashing around, was done weeks later after we'd finished working with the sharks, as a safety precaution," Kentis explains. But there were still plenty of close encounters.

Safety was the primary concern while working with the sharks.

"Even though our budget was low, safety was paramount," Lau explains. "Not only did we get our actors 'open water' certified, but we bore the expense of shooting on location in the Bahamas, where the world's foremost experts on film production with sharks are located."

Actors Blanchard Ryan and Daniel Travis wore protective chain mail under their wetsuits, which would have prevented dismemberment but not bruising. Luckily, neither actor was bitten by a shark, though on the first day of shooting a barracuda bit Ryan.

"It was bleeding a lot," says Ryan. "I was like, 'did you get it?' Because if I'm gonna get bit, at least let it be usable footage."

Kentis did not capture the bite, though it happened on the day of the shoot when Ryan and Travis' characters cavort among the coral with angelfish and eels.

"Daniel was much less afraid of the sharks, but I was terrified," says actress Blanchard Ryan. "The first day we shot, Chris jumps in the water, Daniel jumps in the water, they're swimming around, the sharks are eating the tuna, and they're not bothering them. I was thinking, 'I'm being a Nancy. I need to get in the water!' But it was just terrifying."

Adds Daniel Travis, "When they wanted the sharks to swim really close they would throw the chunks of tuna right next to us. I'd shout, 'A little close on that one! That's a little close!'"

Producer Laura Lau insists that even though the actors had a harrowing experience, they were safe as they bobbed among the sharks. "This is a known shark population, and the people we worked with dive with those sharks every day. The sharks know, almost like pigeons, that they're going to get fed, and they're accustomed to ignoring divers in the water. It's true that Daniel and Blanchard couldn't splash around too much because they could have been bitten by accident. Any time you're near animals with large, sharp teeth, you have to be very cautious. But I never felt for a moment that anyone was in danger."

"Working in the water with real sharks was the key to the movie for me, "Kentis adds. "It seems like in most movies today, everything is done with CGI [computer generated imaging], and personally I don't get the same sense of danger that I did with movies from the 70s and 80s, when you saw stunt men doing these amazing things. You'd say, 'Oh my god, someone was in that car! when it wrecked.

"It was important to work with real sharks, to get the way their tails flap around like big rats in the water as opposed to the usual Hollywood fin gliding smoothly on the surface."

About The Cast

Blanchard Ryan - Born and raised in New England, Blanchard Ryan graduated from the University of New Hampshire with a BA in Political Philosophy. She began her career in commercials, while studying acting and improv in New York City. Prior to her role as Susan in OPEN WATER, Ryan also starred in several independent films including "My Sister's Wedding," "Remembering Sex" and "Exceed," and appeared in Fox Searchlight's "Broken Lizard's Super Troopers" and Kevin Smith's "Big Helium Dog."

Ryan also appeared on HBO's "Sex and the City," and performed in recurring scripted and improv sketches on NBC's "Late Night with Conan O'Brien."

Ryan is an avid hockey fan, and loves visiting zoos and aquariums and reading mystery novels.

Daniel Travis grew up in Clarkston, Michigan and attended Miami University in Oxford, Ohio, where he completed his undergraduate studies in theater and received a BFA. He then attended The Mason Gross School of the Arts at Rutgers University where he received an MFA.

Major theatre roles have consisted of John Buchanan in Summer and Smoke, The Earl of Richmond in Richard III and Paul Bratter in Barefoot In The Park. He has also been seen in "Sex and The City" as "Captain Crunch" and in "The Education of Max Bickford" with Richard Dreyfus.

OPEN WATER is Daniel's first feature length film.

About The Filmmakers

OPEN WATER is writer/director/editor Chris Kentis's second feature film. His first feature was "Grind" (1997) starring Billy Crudup, Adrienne Shelly, and Amanda Peet. Kentis is an award winning trailer and commercial film editor and a graduate of New York University's Tisch School of the Arts film program.

Kentis' wife, Laura Lau, produced and co-shot OPEN WATER. Similarly, Lau produced and co-wrote "Grind." She is a graduate of Columbia University.

Kentis and Lau live and work in New York City.

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Note: The information above is provided by the owners of the film or their agents who are responsible for the promotion of the film. We do not guarantee the accuracy of such information.

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