DVD Review

Click here to visit my 10th Anniversary Music Edition DVD page.

Before the 10th Anniversary Music Edition DVD was released in February 2007, Romeo and Juliet was released in a number of DVD formats. This page contains a detailed review of the Special Edition Romeo + Juliet (Region 1) disc. I have reviewed every section of the Romeo + Juliet DVD, including all special features. Click here to view my description of the main menu, screen selection and language selection. Otherwise, scroll down to check out my detailed summary of all the special features:

SPECIAL EDITION DVD

COMMENTARY

Click here to visit my separate page featuring a detailed review of the DVD commentary
spoken by Baz Luhrmann, Catherine Martin, Craig Pearce and Don McAlpine.

DIRECTOR'S GALLERY

IMPACT

A short clip with documentary footage about the impact of Shakespeare on today's world with comments from Professor Jonathan Bate, author of 'The Genius of Shakespeare', who explains that one of the most important Shakespeare films of our time is Baz Luhrmann's R+J. They clip then features some of the opening prologue from the film, which clearly differentiates it from previous versions. This is then followed by some comments from Baz intercutting with various clips from the film:

"What we were doing was absolutely disregarding the accumulation of what I call club Shakespeare, which kind of dates back to the Victorian period."

"We just wanted to get it back to the kind of violent, direct, passionate, musical, free, energetic, bawdy, savage, rambunctious story telling that it was when this author worked the stage."

We then watch a series of clips from various media sources regarding the impact of the film across the US, which includes mostly positive comments about the film, some speculation about the true meaning of the film, and interview clips with Baz, Leonardo and Claire. These are put together in a very clever style within the television set featured in the film. The television appears on the familiar black background and gradually grows bigger as the hype builds more and more. At the end of the clip, the television is the size of the full screen. The clip is also backed by a remixed version of the opening prologue music from the film.

WHY SHAKESPEARE?

"Two years after Romeo and Juliet opens worldwide, director Baz Luhrmann talks about why he made the film."

This clip features Baz talking in front of a microphone at what looks to be some kind of lecture hall. His comments are as follows:

"So finally, when it was time to do another film, I had to examine myself and say what is the next thing that I really need to make. That's where I start - what do I need to make? - before I pass it on to my team."

"What that really means is if you're going to get up at 5 o'clock every morning for 2 years, you have to have a hell of a lot of passion about something, so it has to scare you enough to really get you going. So, out of a long list of creative ideas, I finally wanted to address this notion of Shakespeare in film."

"Shakespeare actually shared something deeply in common with all of us in this room. Now, in a city of 400,000 people, that's London, he had to get an audience of 4,000 mostly drunk, yelling, screaming ticket buyers into the theatre every day."

"So Shakespeare firstly had to tell his story in such an aggressive, sexy, noisy, rambunctious way that he could shut them up and, at the same time, reach out and touch every type of person from every from every kind of background."

"No, I truly wanted to learn from this guy that lived 400 years ago, and I instinctively felt that a funky Shakespeare would work. So my team and I did, like, a year of research discovering that most of Shakespeare on film came what you call a kind of 19th Century version, you know? And that is lots of round vowels and tights, you know? Well, we kind of wanted to do an Elizabethan version of Shakespeare."

"You know, one of the great things about them is that they would use any device possible, from the lowest bawdy comedy, like you know, something like 'Something About Mary' to the highest of tragedies, you know, a la 'Titanic', and it would all be in the one show. So if Shakespeare was writing a screenplay it would be something like 'Something About Mary' set on the Titanic, that kind of thing."

"He did not differentiate, right? He would have low comedy, high drama, violence, action, popular song, you know, pop song - hey didi didi. Virtually all of it all wrapped up in the one show. So there was no thematic style, it was just anything that grabbed them, no matter who they were, and manipulated them, no matter who they were. And, you know, we wanted to convert that into a cinematic style, because we want to be dealing with a cinema language that is not going to be working this year, or even next year, but is actually about getting through, what I call, the gate of the millennium."

PITCHING SHAKESPEARE

"Baz Luhrmann tells the story of pitching a modern day Shakespeare to a Hollywood Studio."

This clip has been compiled from the same speech that Baz was giving in the lecture hall for the previous section, 'Why Shakespeare?' Here's what Baz had to say:

"So I turned up and I met my executive, a la Peter Rice, and he did the job and he's here today.. (takes a sip of water) I just took that drink of water so that he could sweat a little bit more (grins). But his job was to shepherd in new creative types and ideas. So, anyway, Peter had assembled the top brass to see what this wacky Aussie guy who made 'Strictly Ballroom' had come up with, so it was a lot of focus. So anyway, a few days before the pitch, Peter Rice says to me, you know, "Okay Baz, hit me with it." So, you know, I'm sure he was sort of expecting 'Strictly Ballroom 2'. So I said, "Ahh, look Peter. It's a modern day Romeo and Juliet, the play by William Shakespeare and it's set in a Miami like world, right, where the Capulet's and the Montague's have guns and... it's on the beach. And there were all these language gags, you know, I had language gags. So, you know, there'd be the high security compound at the Capulet mansion and Romeo would leap over the compound wall and the lights would go 'Vrooom' and he'd go, "What sound? What lights beyond the window breaks?" You know, and there's a big laugh. So, you know, I thought I was doing really well. And anyway, so I stop and I finish telling the story and I thought, 'Well, that kind of went well," and I looked over to Peter... (takes another sip of water, then pulls very intense face to mock Peter) And he's going 'That is a great idea." I mean, he was almost, I mean, lights were flashing before his eyes and 'my life is over,' he's thinking. 'That is a great idea'. Now all he was thinking was, 'Oh my God, I've got to go in about 10 minutes!' So he says, 'Great Baz, that is a great story. Just go in there and tell the story. But just one thing. Don't mention the language, right? Tell the story, don't mention the language. Don't mention it's Shakespeare, you know, until the end."

(the audience laughs)

"And I said, well, what if they ask if it is Shakespeare?' And he says, 'If Tom asks if it's Shakespeare, right, just say, 'Tom, I respect your question, but I would like to answer that at the end."

(more laughter, even some clapping from audience)

"So, cut to the future in Tom Jacobsen's office and everyone's attention is totally focussed on me. I go, 'It's a modern day Romeo and...' And as soon as I say the word 'Juliet' he says, 'Okay, is that ah Romeo and Juliet by William Shakespeare with the original language?' (pauses, laughter from audience) 'Tom, I respect your question, but I would like to answer that at the end.' And he goes, (frowning) 'Okay.' So I just start to tell the story, so I go, 'There's this guy, Romeo, and he's got a shirt, a blue Hawaiian shirt on, and the girl's are there on the beach...' And I could feel this bead of sweat forming on my forehead (points to forehead) and dribbling down like that and I said, 'And the Capulet mansion has a wall around it and Romeo, he leaps over the wall and the lights come on and he goes, 'The lights are on.'"

(the audience laughs)

"One and a half hours later, right, I say, 'and they die.' And Tom is feeling, like, so sorry for me at this point, and he leans over, and he says like talking to an accident victim, he says, like, really encouragingly, 'You know, I hear there's music in it.' And I go, 'YES! Yes, there's music in it!' And Tom goes, 'What kind of music?' And I go, 'Contemporary music!' And he goes, 'What kind of contemporary music?' And I go, 'More hits that you can possibly imagine!' And they kind of laughed as it was such a ridiculous thing to say so they kind of went, 'Yeah.' And so I was like, 'Look, it doesn't matter, it doesn't matter, it's a disaster, you know, it doesn't matter. Look, it is Shakespeare. It's William Shakespeare's Romeo and Juliet.' And Tom says, 'So it is the play by William Shakespeare?' And I'm going, 'Yes, yes!' (smiles)

"I said, 'Look, give me a punt on the draft and give me a few thousand dollars more, and I will make you a video version of the scenes in their modern costumes, and then we'll all sit down and if the idea doesn't work, I'll be the first one to say, you know, if we start falling about when they first start speaking the language, you know, we'll say it doesn't work, and I'll do Strictly Ballroom 2."

"Anyway, they did give me the few thousand dollars with which I was able to go to Leonardo before agents, before business and talk to him about the project. He came to Australia flying coach for no money, without any sign of a deal, simply to enjoy exploring the idea to see not only if we could convince the studio, but firstly if we could convince ourselves that it could work. Why don't we have a look at it?"

We are then taken to a screen entitled:

"Extract from video workshop, Sydney, Australia, One year before principal photography."

It features Leonardo as Romeo in an early version of his suit sitting in a Sydney back alley smoking a cigarette and writing in his diary. We hear his voice over as the camera shows more of the lost and forlorn Romeo sitting around the desolate street.

It then cuts to Leo emerging from a car and straight into the confrontation between Romeo, Tybalt and Mercutio. Tybalt says, 'Thou art a villain' and challenges Romeo to a duel. Romeo turns him down and this scene is played with the same dialogue as was eventually featured in the film. Tybalt demands that Romeo 'Turn and draw' and beats and kicks him on the ground, as he does in the movie. Romeo still refuses to draw, and starts running away.

It cuts to a black screen and we hear Romeo shout, "A plague on both your houses!"

It then shows a series of still shots with Romeo covered in blood and Mercutio lying dead on the ground, including a couple of striking black and white poses of Romeo's stricken face.

It then cuts to Romeo's confrontation with Tybalt at what will become Tybalt's execution scene. Romeo is on his knees pressing Tybalt's gun against his head and shouting 'Either thou or I or both must go with him!' The scene ends with the sound of a single gun shot.


I'm so glad this video footage has been featured on the DVD. It was a brilliant idea and a brilliant piece of promotional work. The footage even features backing music, including the opening bars of 'Local Hero' as is featured in Romeo's introduction in the actual film. The acting from Leonardo and the Tybalt and Mercutio stand-ins is excellent. Even though it's video footage with basic scenery and props, the pure emotion is definitely there, and this is what ultimately drives the actual movie. If I was a studio executive and saw this footage, I definitely would have told Baz to go for it!

THE GAS STATION

This clip opens with Benvolio shouting, "Halt fools, you know not what you do!" at the gas station. This image is accompanied the text - The Gas Station - Rehearsal - Staging - Shoot.

We are then taken on a short journey behind the scenes of how the gas station sequence was achieved. We see Baz staging the scene before shooting begins.

Screen - New York City - 3 months earlier

The three actors who play the Montague boys are seated around an indoor table doing a script reading. The actor who plays Benvolio sings along to backing music, 'I am a pretty piece of flesh'. The three of them pretend to be riding along in a convertable, as they do in the movie. They then rehearse the confrontation with Abra. The indoor rehearsals are continually intercut with outdoor rehearsals at the station and actual footage from the film.

We then see the actors who play Benvolio and Mercutio rehearsing the scene where Mercutio makes fun of Tybalt's fighting style on the beach.

We then see choreographer John O'Connell demonstrating the flamingo style dance moves he taught John Leguizamo in order to achieve his unique gun slinging style in the film.

We then see intercut clips of Baz directing the entire gun shooting sequence at the gas station. We see actors rehearsing indoors, outdoors on set and the filming of actual footage.

We watch as they film the part where Benvolio runs away from the station through the traffic firing his gun back at Tybalt. Baz tells him to run over the cars, and soon there is a freeze frame with the caption, 'Moment of concern as the actor runs in the wrong direction into real traffic.' He quickly returns to the proper side of the road and this is the actual take they use in the final cut of the film.

We then watch the station burn and Baz explaining what will happen next. We see the caption, 'To create the image of a city where religion and the state are as one, a giant statue of Jesus is matted in to real footage of Mexico City.' We see a shot of the Montague and Capulet buildings without the statue to show it isn't there.

Baz then directs a story board artist on how to draw the final confrontation between Benvolio and Tybalt as they stand screaming at each other in the streets and the Prince tells them to drop their weapons to the ground.

Finally, we see the 'Gas Station Fact File':
Principal Photography: 7 days
Pick up shooting in Veracruz: 2 days
Number of edits: 185 cuts
Length of sequence: 5 mins 30 secs

THE POOL SCENE

We see work being done on the pool set and the caption, 'Shooting script: pool scene - Shakespeare's Famous Balcony Scene'.

We watch as they film Juliet on the balcony in her angel costume staring at pretend fireworks as flames are being generated around her.

We then cut to preparation of the set for the balcony/pool scene. The set is being built, work is being done on the interior of the pool. A caption reads, 'The set of the pool was built entirely inside the studios in Mexico City.'

We then watch Leonardo and Claire rehearsing their poolside dialogue on the unfinished set and alongside the empty pool. They also pretend to be swimming in the pool as they rehearse under Baz's direction. All this is intercut with footage of Leo and Claire in a tank where they filmed the underwater kissing, rehearsals with water in the pool, and footage from the finished scene in the movie.

We watch as Leo and Claire rehearse the poolside dialogue where Romeo surprises Juliet. It seems they initially planned on Juliet squatting by the pool and Romeo surprises her right then. However, we see that this idea was not working. A week later, they then had Juliet stand and walk a few paces before Romeo makes his presence known. This makes the scene flow better as they are both already standing so that when Juliet slips, she clings on to Romeo and pulls him down into the water with her. We see Baz on a mobile phone discussing how he wants this scene to look, and the camera pans down to reveal he is fully clothed and his trousers are half deep in the water!

We are then shown how the underwater kissing was filmed. These intimate shots were actually filmed in a small tank and the two actors would have to duck underwater to kiss over and over again as the camera filmed from outside the tank. A caption tell us that, 'an aquatic wig was made for Juliet' and we see the number of takes it took to get her hair looking just right!

TYBALT'S EXECUTION

We watch as Baz directs the actors at the Mexican roundabout that would serve as the backdrop for the slaying of Tybalt. A caption reads, 'Tybalt's execution - Rehearsing - Staging - Shoot'. It is daytime, and we watch Baz talking his crew through what he wants to see in this sequence.

We see intercut footage of how the car crash was achieved with an actual stunt car and also a contraption where the actors would sit and be spun round and round.

We then watch Leo rehearsing marching towards Tybalt, dropping to his knees, and pressing the gun to his head, shouting with rage. We then watch an intercut rehearsal of Romeo shooting Tybalt and John Leguizamo falling backwards onto padding.

We also watch Leo as Romeo running through the streets of Verona towards the church, taking a man hostage and entering the building, all of which is again intercut with final footage. The clip ends with a worse-for-wear Leo smiling and saying to the camera, 'Really good, man.'

CINEMATOGRAPHER'S GALLERY

In this section, cinematographer Don McAlpine talks us through many of the decisions he had to make concerning cinematography in Romeo + Juliet. Don describes ideas for filming the movie and how he put them in to practice.

A Hole in the Wall

Screen caption -
"A man, young lady! Lady, such a man"
The shooting script:
Int. Day. Gloria's Dressing Room
The Shakespearean play:
Act 1 Scene III: A Room in Capulet's House

We watch as a section of Gloria Capulet's dressing room wall is cut out with a chainsaw so that camera's can be placed there to shoot footage from above the mirror. We also see footage from this scene where Gloria is in her Cleopatra costume talking to Juliet. Don explains:

"This is an example of film economics. Normally you'd move the wall back, it would take you an hour. We decided to cut a hole, it took us 5 minutes, and we got directly on with the job. But be certain it is your last shot."

One Light

Screen caption -
"Tybalt is gone and Romeo banished"
The shooting script:
Int. Night, Friar Lawrence's Room
The Shakespearean play:
Act II Scene III: Friar Lawrence's Cell

We see the clip in the film where a forlorn Romeo looks up at the church wall and says disbelievingly, "Banishment." The lighting is a dim blue, and here we are shown and told how Don achieved this effect:

"This is a story about lighting a scene with one light. The 10K, you can see, is shining through some coloured cells falling on a window with a crucifix pattern surrounded by diffusing material that is sending soft light through the scene. Special effects are putting water on the glass to produce a sort of tier like effect with the light.

We watch Leonardo rehearsing this line. In the film, we only see a close up of his face, but here we have a point of view from further back and can actually see the crucifix shaped light on the wall behind him. Suddenly, Don remembers an additional detail:

"Ah, what I've told you is a lie. My gaffer is using additional strobe lights to produce the additional lightening that you can see in the scene."

Operator

Screen caption -
Don McAlpine's First Love
The shooting script:
Ext. Day. Gas Station
Ext. Day. Verona Beach (Mercutio Dies)
Int. Night, The Capulet Mansion
The Shakespearean play:
Act I Scene I: Verona, Public Place
Act III Scene I: A Public Place
Act I Scene V: A Hall in Capulet's House

We see Don filming Fulgencio Capulet dressed as Caesar at the Capulet Ball dancing and singing onstage. We then see Don filming Mercutio storming towards Tybalt on the beach, and watching the playback with Baz and other members of the cast and crew afterwards. We also see Don filming Abra shooting from behind a car in the gas station sequence.

"As a Director of Photography, you usually stand on a hill like a general, and watch the battle happening below. As an Operator, you're one of the people right down on the front line. Normally I don't operate, but when I feel secure on the hill I love to get down and be a participant in the scene. As an Operator, you are the other actor, a performer. You must concentrate, forget where you are, and go with the flow. I guess it relates to my beginnings as a news cameraman, but even after 50 films, I still love to get my hands on a camera."

The Fishtank

Screen caption -
Did My Heart Love Till Now
The shooting script:
Int. Night. Gentlemen's Bathroom/Ladies Powder Room
The Shakespearean play:
Act I Scene V: A Hall in Capulet's House

Don is presumably behind the camera as he talks to Baz about what Baz wants to get in frame in this particular shot, with Claire standing behind him nodding in agreement. We watch as Leo and Claire rehearse the fish tank scene, with Baz directing and watching the playback. Don explains:

"This scene with the fishtank was exceedingly difficult to light because of the glass surface of the tank and the water. I think I succeeded by putting fluorescent tubes taped to the actual fishtank, the ambient or reflected light from these is what is actually lighting the scene. The tubes are just taped outside the camera view."

"Now, moving the camera across the back of the tank created a wonderful effect, a trick that didn't diminish the drama, it actually enhanced it immensely."

Baz says "cut" and walks past the side of the fish tank past an amused Don, who is looking quite pleased with himself and the effect he was able to successfully create.

The Elevator

Screen caption -
"Sin from thy lips? O trepass sweetly urged!"
The shooting script:
Int. Night. Elevator Capulet Mansion
The Shakespearean play:
Act 1 Scene V: A Hall in Capulet's House

We watch as the assembly of the elevator is worked on, and Baz advising Claire in her angel costume. We then see how the circling camera effect was achieved in such a small environment, and watch for some time as the flaps of the wall are slowly raised up and down as the camera pans round and round. Clips from the movie are intercut with the backstage footage, and then the completed sequence shown at the end. Don explains:

"The elevator is a small room 6ft by 4ft. Our real difficulty was moving the camera around in a circular fashion as Baz wanted us too. It wouldn't fit inside the room, so we had to devise a mechanical means by which we could move the camera outside the room. It's great credit to the performers that they were able to perform with this noisy physical distraction happening right along side."

The Church

Screen caption -
"Thus with a kiss I die"
The shooting script:
Int. Night. St Peter's Church
The Shakespearean play:
Act V Scene III: A churchyard; in it a tomb belonging to the Capulets

We see crew lighting lots of candles and shots of the completely lit interior of the church. We then watch film footage of Romeo walking through the candles towards Juliet.

"This is the climactic scene inside the cathedral. The interesting part here is that I had the biggest lighting crew I think I've had on a film, but they're job was to ignite and snuff out the candles in between scenes. The reason for this was the smoke from the cameras would have really interfered with the photography. The other problem with the scene was, of course, convincing the audience that it's lit by both the candles and the neon lights. In fact, it wasn't. The people are lit by lights just outside the scene and the architecture is lit by an overall soft light inside the cathedral."

DESIGN GALLERY

The Books

Book One (backed by 'Pretty Piece of Flesh') -

"The purpose of these storyboards was to build a world that expressed the social and economic realities of Shakespeare's time in 20th Century images.
The following sequence reimagines the action from a sword fight on the streets of Shakespeare's Verona to a gun fight in a Verona Beach gas station."

We are then shown a series of colourful storyboards outlining the ideas featured in the scene, and also depicting the overall look of the scene. It is dated December 1994.

Book Two (backed by the opening prologue music)-

"The next stage was to place the actors within the created world.
Leonardo DiCaprio came to Sydney twice to explore the notion of a 'modern day' Shakespeare.
From these workshop sessions we created a video and the following images. It was this material that gave the Studio the confidence to make the film."

We are then shown a series of creative images from the gas station sequence, this time featuring the actual actors. It is dated May 1995.

Book Three (backed by 'Angel')-

"These pictures represent the final step in the production design process. They are not photographs but pre-visualisations created by applying textures to wire frame drawings. By photographing our crew and replacing their heads with the real actor's faces we were able to see the performer in costume on set, allowing us to fully visualise the world of Verona Beach before construction began. These pictures were used by the construction crew as reference for texture and painted finishes."

Images of a variety of sets with actors 'pretend' bodies in correct costume alongside the final set designs. It is dated November 1995.

Guns of Verona Beach

"I am thy pistol and thy friend!"

"The gun play in the film is a reflection of the highly developed rituals of sword play described in Shakespeare's text. There are numerous references in the play to the style in which weapons are handled. The Challenge or the duel is part of a larger code of chivalry. The guns are not only weapons, but ornamental accessories. The strict moral code of Verona beach allows arms to be used only within the Challenge."

We are then shown colourful moving images of Romeo's 'Sword', Mercutio's 'Dagger', Tybalt's 'Rapier 9mm'and Benvolio's 'Sword 9mm Series S'.

Cars of Verona Beach

"In the world of Verona Beach cars do not reflect environmental concerns. There has been no oil crisis and the rich relate to their cars as status symbols. The car are large and ostentatious, the result of combining the silhouette of a pre-oil crisis world, with the styling and materials of today."

We are then shown moving images of Tybalt's blue 'Executioner'. Benvolio's yellow 'Stratford Baronet', Romeo's silver 'Chrissto Pilgrim' and Mercutio's red 'Masque Monarch'.

Production Design

Here we are able to view a map with the position of five key locations within the film's fictitious Verona City. Production designer, Catherine Martin, discusses each location, as described below.

1. The Capulet Mansion

CM explains this was based around around a real location in Mexico City, a national monument called Trebultapret castle. Set designers tried to make it look more like a mansion then a castle. Only the exterior was used for film, and was dressed by set designers for Gloria Capulet screaming on the balcony, and also for the Capulet ball. The entrance hall was inspired by a real location in Mexico City, but this location was not used. Instead, a set was built in the Mexican studio. CM explains various elements about keeping costs down with repetitious designs, materials used, plus storyboarding for specific scenes. She talks about the revolving elevator effect, also discussed in Don's 'Elevator' area in the Cinematography section.

2. The Gas Station

CM explains that they consistently used Shakesperean quotes in the film in all the advertising and product language. With the help of the 'Complete Works of Shakespeare', the graphic designer tried to tie in as many Shakespeare quotes as possible for billboards etc. CM explains that the 'Sycamore Grove' beach front was shot in Verucuz, and the gas station in Mexico City. This sequence was shot in an abandoned gas station in one of the busiest streets in Mexico City, and all that remains now is the blue wall painted with palm trees. They built the pumps, added the signage, products and even a custom made Verona Beach cab. CM tells us how the graphic designer designed a different type of car for each character to reflect their personality, and talks us through a couple of stunts.

3. Sycamore Grove

CM explains it was built on a deserted beach in Verucuz, Mexico. They built the road, planted artificial palm trees and erected telegraph poles. The decorator built a village of cafes and bars on the sand, and the Sycamore Grove theatre was also built. Sycamore Grove became a place where the nobles could 'slum it'. An unsuccessful seaside resort had to be obscured as it could be seen at the end of the beach, and this was obscured with the 'Shoot forth thunder' billboard. They also used the buildings as dressing rooms for the extras. Fences were erected around the car park next to the pool hall to cover the suburbs beyond, and these were decorated with Shakespearean graffiti by the actors in their spare time. The Sycamore Grove theatre needed lots of structural support to withstand high winds, and in fact survive a hurricane that plagued the shoot. It helped to created a more enclosed feeling for the Queen Mab scene and the action could be played out on the stage. Lighting had to be considered for both day and night shoots on the beach, and fireworks and neon lighting assisted with this.

4. The Jesus Monument

CM explains that the Jesus monument was a symbol of the importance of religion within the Verona City society. A professional illustrator was hired to previsualise the car action at the base of the statue. CM shows us a series of images and preconceptualisations of how they wanted the statue matted into scenes in Verona City.

5. St Peters Church

CM shows us sketches of an original idea for Juliet's tomb, when it was still going to be a set. However, Baz decided the scene needed grounding and reality and chose to look for a location. Baz chose to look for a church for more relevance. St Peters church was ideal with its giant Virgin Mary statue on top of the building helping it blend in with the overall look of the film. They built Father Lawrence's greenhouse and lifted it on top of the church. The enormous doors of St Peters Church also feature a sacred heart, and this image became central to R+J marketing. CM then shows us the dressing of the interior of the church.

Fashion of Verona Beach

Montagues

CM explains that the fashion of the Montagues was designed around Verona Beach Hawaiian shirts. Fabric designs were specific to each character, and featured religious symbolism. Tattoos were modern block work, and guns featured the Montague crest. CM shows us some of the jewellery worn by the Montague boy, and the dishevelled dinner suit worn by Romeo as he escapes his parents on Sycamore Grove.

Capulets

CM explains that Kym Barrett designed the Capulets as flamenco peacocks. Bullet proof vests were a central item, and Tybalt's was adorned with various religious icons. Ornamental tattoos were also part of their style, as was decorative jewellery. At the Capulet ball, Kym dressed Juliet as an angel and Romeo as a true knight, inspired by the text. Mercutio trained with the choreographer for his dance number at the Capulet Ball.

Branding Verona Beach

We see images of a series of billboards, signs and products featured in the film. These include advertisements for Holy Water, Sword 9mm, Madonna Filters, Shoot Forth Thunder, magazines called Prophecy, Timely and Maids, and even a Verona Beach Herald.

INTERVIEW GALLERY

The Co Writer

This clip features co-writer Craig Pearce talking about how the movie aimed to helped people to understand Shakespeare through re-interpreting the text with recognisable characters in a modern world. "We wanted to knock Shakespeare off his pedestal and put him back where he belonged, which was on a billboard on Times Square and on the bedroom wall of adolescents around the world."

The Editor

Editor Jill Bilcock talks about the gas station shoot out and provides interesting tidbits of information, including how sphagetti western music that was added to the gas station shoot out, the way they did the 'Sin' close up on Abra's teeth, and how, when Benvolio ran out onto the road, people didn't know and thought the gun was for real! She also mentions how they had to slow down for the love scenes because "love is not fast, it is a slow and luxurious emotion that everybody likes to enjoy."

The Choreographer

Choreographer John 'Cha Cha' O'Connell proudly demonstrates the flamenco moves he taught to John Leguizamo for Tybalt's gas station shoot out, and explains what he feels the flamenco added to Tybalt's fighting style. "There is a certain style that you can get to that will really embellish what he is doing, particularly as a character as well."

The Costume Designer

Costume designer Kym Barrett explains the process of designing costumes for the film, and explains how she came up with the costumes for Romeo and Juliet at the ball from the text of the play. She also talks about how she designed the guns. "Think of ways you can kind of show the words from what you can see."

Leonardo DiCaprio

Leo explains how he is proud of his work in this film and wants to make good choices with all his projects. He says he was initially wondering why do another Romeo and Juliet? But Baz showed him that it was worth doing, and that Shakespeare needed a new 'boost to it'. Leo talks about the difficulty of performing Shakespeare, but once you get into the character you realise how human he really is, you forget it's Shakespeare and get quite emotionally involved. "It combines so many things and its so powerful and it doesn't let up."

Claire Danes

Claire talks about the character of Juliet and what the character is all about. She then talks about her experiences on set and explains the first scene they shot was the 'shirtless' scene in Juliet's bedroom which was a way to 'break the ice'! She says Leo is one of the most interesting people she'll ever meet and they had great fun working together.

John Leguizamo

John explains that his character, Tybalt, is the essence of the play and is the 'one that makes the whole thing spin around'. It's his rage and his hurt and his anger that leads the movie into the third act. He explains the rules for using guns in the film, and how the characters follow a code of conduct. He also explains that the movie is all about believing in love.

MUSIC CLIPS

Kissing You

Des'ree sings the soulful tune of Romeo + Juliet's beautiful love theme. The clip features Des'ree in elegant evening wear singing on a darkened stage and intercut with images from the movie.

Young Hearts Run Free

Kym Mazelle sings the upbeat song that became somewhat of an anthem for Mercutio. The clip is entirely made up of images from the movie, including Mercutio's dazzling drag queen rendition on top of the stairs at the Capulet Ball.

MARKETING R + J

TV Spots

Two short television commercials made for US TV. One focuses on the action featured in the film, while the second focuses on the love theme.

Trailer

The US cinematic trailer.

There is no 'voice over guy' featured in this trailer. Instead, the marketing company has wisely decided to let the music and powerful images tell the story. We hear the tune of 'Kissing You' as we watch romantic images from the film. These are intercut with the following words appearing onscreen:

"From age to age, one classic story, is as timeless, as love itself. William Shakespeare's Romeo + Juliet"

The backing music then changes to 'Pretty Piece of Flesh' and movie images become more violent outlining the conflict and action featured in the film. The music returns to 'Kissing You' as the stars are credited, and the the title appears once again.

The trailer ends with Romeo saying, "Juliet, I will lie with thee tonight."

Posters

"Finding the right one sheet to communicate the film to the audience is a long and detailed journey. Bazmark gets involved with the creative company early on, and there is always a healthy back and forward exchange about the ideas and ways of finding the right solution particular and specific to the right territory or audience. Included are some examples of the different campaigns and ideas for the difference countries."

We are then taken through a series of one sheet designs, backed by the instrumental version of 'Kissing You'. The final designs are also featured, and I recognised the main three one sheets that were used for the Australian market.

DVD ROM

Script to Screen comparison

The DVD Rom launch option appears automatically when the Romeo + Juliet disc is inserted into a DVD player and can be accessed by following the instructions on the screen. The DVD Rom feature contains a 'Script to Screen' comparison, where excerpts from both the play and film can be read and compared. The play excerpt is Act 1, and the film excerpt is the beginning of the screenplay as the Montague boys drive towards the gas station. The excerpts are accompanied by Kym Mazelle singing 'Young Hearts Run Free', and the volume of this tune can be controlled using a small round symbol on the top right of the screen. A two-way arrow near the bottom of the screen is used to move the text up and down, and the crucifix image on the right hand side is used to quit the application.

MAIN PAGE

HOME

Compiled by Vanessa
Copyright