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THE JOURNEY’S LANDSCAPES

THE JOURNEY’S LANDSCAPES

At the turn of the 16th century, humanity was coming out of the Middle Ages and was the cusp of the Renaissance. The notion of a “landscape” had not yet emerged. Pigafetta did not describe any of the natural settings that surround him; the concept, words, and dreams that they evoke do not yet exist. The camera will track down landscapes that Magellan may have seen from the deck of his ship to show what was not written. We will be filming from the sterncastle and providing aerial shots of the landscapes crossed by the Armada de Molucca, such as the Guadalquivir in Spain, Guanabara Bay, Mar del Plata in Brazil, Port St. Julian, the coast of Argentina and its dead ends, the Strait of Magellan, the Atlantic, Pacific, and Indian Oceans, the Philippines, Palawan, and the Maluku Islands.

More specifically, this will involve tracking down the exact locations for each of the voyage’s notable events. These details will bring an element of realism. They will show where Magellan had a cross erected, what hill the men climbed to gaze out at the Great Ocean, the bay in which they found wild celery, the beach where the Santiago sank, the first island they saw after being at sea for three months, where the sick were cared for, etc.

More than anything, this is about a great maritime adventure, and we will head out to each ocean to film the sea and convey their colors, waves and skies…

For each sea has a character, whether welcoming or hostile, devastating or still, luminous or metallic. As we film, we will constitute a bank of images of high sea that will serve to identify these watery bodies. Olivier de Kersauson or Ellen MacArthur (TBC) will define the personalities of great oceans which they have each sailed several times. To evoke the past, original buildings, as well as the streets and squares of Porto, Lisbon, or Seville, will be filmed at night or at daybreak.

Most of the landscapes that will be covered in our world trip are still unspoiled today.

We will endeavor to bring out their majesty by focusing on morning light and stormy skies. As a way of bringing five hundred-year-old virgin landscapes back to center stage, rather than the great cities they have become in Magellan’s wake, our graphic designers will endeavor to erase all traces of modern urbanism. Through several wide aerial shots, we will rediscover San Lucar de Barrameda, Rio de Janeiro or Cebu as they would have stood at the time of the great European explorers.

Special attention will also be given to capturing images of nature, of the wild plants and animals the sailors came across and which were often described in Pigafetta’s chronicle.

Some of these animals were first spotted at that time, such as penguins or sea lions. Patagonia’s tortuous trees will express the hostility of these lands. New fruit from Indonesia and the Philippines, such as rich, sweet, creamy bananas and coconuts, were a source of constant fascination for the sailors. And, of course, the entire expedition was organized to pick the bud of a single plant: cloves, whose sparkling green tree and red flowers are an explosion of color against their volcanic setting.