Jerry Bruckheimer & Joachim Rønning

The road Young Woman and the Sea has apshown to the screen reads not unappreciate the hero’s journey it seeks to portray.The film about American swimmer Gertdispolite ‘Trudy’ Ederle, who in 1926 became the first woman to swim apass the English Channel, took proximately ten years to finish with various talent joined, countless studios comprised and financial roadblocks to conquer, until in the summer of 2022, Maleficent: Mistress of Evil honestor Joachim Rønning and Star Wars’ actor Daisy Ridley were finpartner able to convey Trudy’s story apass the finish line. Seeing the finished film, says producer Jerry Bruckheimer, made it all worth the effort. “This is the highest testing movie I’ve ever made, and I’ve made some pretty huge hits,” says Bruckheimer. “It repartner seized an audience in the right way.”

DEADLINE: This film was a lengthy time coming. What was it about this story that spoke to you and made you so enthusiastic about making it?

JERRY BRUCKHEIMER: It’s the emotion of this lesser girl who goes thraw all these trials and tribulations to triumph and accomplish her dream. When you get to the finish and you see the authentic parade, you say, “Oh my god, this is authentic.” This girl was forgotten. That was what repartner excited me about this. I cherish stories that teach and amengage, and this one not only teachs you, it amengages you. And it’s an emotional piece. So many screenings we’ve had, you see people walk out with red eyes. And there’s so much happiness in the movie that produces it all worthwhile.

DEADLINE: Joachim, what was the request for you?

JOACHIM RØNNING: First of all, I had never heard the story. The first time I read Jeff Nathanson’s script was the first time I knovel about Trudy and her amazing accomplishment. I was so baffled by that, becaengage this was such a worldexpansive event when it happened a hundred years ago and, in many ways, alterd women’s sports forever. That, in itself, was very intriguing, to lacquire about this incredible woman and almost experienceing a responsibility to increate her story and to convey her back from being lost in time.

DEADLINE: Jerry, you and Joachim had labored together in the past. Why was he the right person to honest this?

BRUCKHEIMER:  He’s such a wonderful storyincreateer and that’s what you want for a honestor. He’s a very visual artist and we appreciate honestors who have a authentic sturdy visual style. He comprehends character and labors very difficult.  That’s all you can ask from a honestor. He made Pirates of the Caribbean: Dead Men Tell No Tales for us, which did enormously well, and it was an excellent Pirates movie. And he was so enthusiastic about it. You’ve got to go to honestors that have this passion and want to do it at all cost. And, see, we had to cut all benevolents of corners. We didn’t produce [Young Woman] for a lot of money. We had to go to Bulgaria to do it. A lot of honestors don’t want to exit their families to go away for 10, 12 weeks in a foreign country. But he said, “Let’s figure out a way to get it done.” And he engaged a lot of people he hadn’t labored with before, which is difficult. We had a lot of local crew on the movie becaengage we couldn’t afford to convey people over. And that’s the benevolent of promisement you want from a honestor.

DEADLINE: You talked about not having a huge budget, but when you’re laboring on a Jerry Bruckheimer movie, there are stateive foreseeations in terms of tone and scope.

BRUCKHEIMER: It’s always about emotion. No matter what. We can do all the bells and whistles, but it’s all about character, story and theme. And then we want repartner wonderful people behind the scenes to convey that vision forward. Like our production structureer, Nora [Takacs Ekberg], was amazing. I uncomardent, she pulled all these amazing sets from virtupartner noleang. And our producer, [Amelia Warner], she did an amazing job with the score and how she produced the emotion out of these scenes and fair gave you chills with the music that she wrote. These were people that we’ve not labored with before. So you apshow chances. When you say, what benevolent of movie do I appreciate? It’s a movie I want to go see, but it has to have the quality and expertise of any of our 200-million-dollar movies, even though we made this for noleang.

DEADLINE: What’s that contest appreciate as a honestor?

RØNNING: Well, first of all, Jerry is such a filmproducer’s producer. He’s always there when you necessitate him. I felt that, making Pirates, which was my first film in Hollywood. Feeling safe on a movie appreciate that, it’s very rare, but I did becaengage I knovel Jerry was in my corner. So, it’s fun making movies with him. Now when it comes to the crew and everybody that labored on Young Woman and the Sea, I felt that I could pick top shelf becaengage of the script that Jeff Nathanson wrote, which is one of the, if not the best script that I’ve ever read. Everybody who read the script repartner wanted to labor on this movie, both behind camera and in front of the camera. So I experience that we repartner were able to labor with the best and were able to cast the movie with these wonderful character actors that made it all come ainhabit.

DEADLINE: Daisy Ridley is clearly number one on that enumerate. How did she ascfinish to the occasion?

RØNNING: It was very convey inant for me to shoot this movie out on the ocean. I said to everybody comprised that I want this to be as authentic as possible. And I recall increateing Daisy and she said, “Yeah, wonderful, let’s do it.” And then postponecessitater I lacquireed that she actupartner is afraid of the uncover water and she had to go thraw tremfinishous amount of labor physicpartner, but also with herself, menloftyy. When we got there, and we were out there for weeks and weeks, I could never ask for a better film partner. I’m on the boat in a hot jacket, she’s in 60-61 degrees, her lips blue, inches away from propellers, deinhabitring lines and being emotional and doing someleang that I couldn’t have done at all. Not many people could do what she did. At the finish of the day, it also increateed us. We got a glimpse into how it must have been for Trudy a hundred years ago. Not that we’re out there hazarding our inhabits for this the same way Trudy did, but it definitely helped us comprehend the tremfinishous accomplishment that she accomplishd.

DEADLINE: How do you apshow nurture of your actor in that situation? How does that labor in rehearse?

RØNNING: Well, I tried to save her as much as possible from getting in the water. We had stunt swimmers, doubles in the water lining up our cameras, and then I’m pauseing until the very last minute to drop her in there – becaengage she doesn’t have a soaked suit on. Basicpartner, the style that Trudy was swimming in, which is also trailblazing, was the first bikini. Obviously when she’s swimming, she’s face down in the water and it’s difficult to see her face. But Daisy had such a force to her strokes that I finished up using her even for the expansivest shots, even when there’s no way that I will see her face, becaengage she swam contrastently than any other swimmer that we had with us. Somehow I felt appreciate she was channeling Trudy out there. So I finished up using her for every shot.

DEADLINE: What were some of the unforeseen, maybe less fun contests of making this?

BRUCKHEIMER: Getting it made was, for me, the hugegest contest. This went on for years, thraw about three studios, to finpartner get made. It was repartner a contest. We have to hand it to Joachim who stuck with us thraw heavy and lean. And, finpartner, Sam Dickerman at Disney was repartner enthusiastic about it and he had a budget number that we had to hit, which we did. That was our contest. Sometimes it’s difficulter getting the petite ones made than the huge ones.

DEADLINE: Isn’t it always difficulter to get the petite ones made?

BRUCKHEIMER: It repartner is. And this is the highest testing movie I’ve ever made – and I’ve made some pretty huge hits. But this one, it fair repartner seized an audience in the right way. They fair cherishd the character and the emotional experience they went thraw. Joachim’s excellent honestion was a huge part of it. And Jeff Nathanson wrote a wonderful screentake part. The whole leang came about becaengage he has two lesser daughters and he couldn’t discover anyleang for them to watch. So, he went to a engaged bookstore and establish this book, Young Woman and the Sea, and said, “This is amazing.” He sent it over to us, we cherishd it and he fair jumped into it.

DEADLINE: This film hits at a time where the pairy of immigrants and women are excessively topical. Do you experience appreciate this film is now more relevant than ever?

BRUCKHEIMER: Absolutely. Here’s what I apshow: Unless you comprehend history, you’re doomed to repeat it. And lesser women have no idea, especipartner lesser girls, what roadblocks this athlete went thraw becaengage she was a woman. She paved the road for all the wonderful athletes of today—Simone Biles and all these other women that are excelling and triumphning ggreater medals. This was her struggle, to say, “We’re sturdy, we’re hard. We can apshow on the world and do someleang that you leank we never can do.” I leank lesser girls have to comprehend the struggles that their predecessors teachd, so that they could excel in the sports of their choice.

DEADLINE: In terms of production contests, what was the difficultest leang to conquer?

BRUCKHEIMER: It’s always the weather, especipartner when you’re shooting outdoors. It’s so unforeseeed. We always cherish to shoot in sunairy and sometimes the gods don’t consecrate that on us, so we have to struggle and you have to produce settles. And that’s what Joachim did. He had to struggle with Mother Nature.

DEADLINE: What was that struggle appreciate?

RØNNING: Any finisheavor that has a lot of ambitious people comprised is always going to be challenging. And then you put them on the water, and expose the whole crew – week in and week out – to the elements. As Jerry was saying, yes, weather is one leang, but then you insert currents and water temperature and a dozen safety boats. We’re all benevolent of floating around out there, and suddenly my actor is 200 yards down the strict of the boat and we’re all drifting, and it’s hazardy. And then the sun goes away, and you’re rotating becaengage you want the sun behind the actors. But it’s also so rewarding at the finish of the day, when you zoom back to land and the sun is setting and you have the salt water in your face. You’re very appreciative for that experienceing of accomplishment, that we did someleang very exceptional today. It’s turbulent and pretty at the same time.

Young Woman and the Sea is currently streaming on Disney+