Like Crazy, How To Die In Oregon Top Sundance Awards

"Like Crazy, How To Die In Oregon Top Sundance Awards"src="http://www.cinemablend.com/images/news_img/22899/Sundance_2011_22899.jpg"style="border: 1px solid black;margin:1px;margin-left:5px;position:relative;"align="right"vspace="3">There's no top prize at the Sundance Film Festival, given there's a Grand Jury Prize for all four major categories, plus Audience Awards for each and various special jury mentions. But if you're as U.S.-centric as the rest of us, and want to keep an eye on the film most likely to be the Next Big Thing coming out of the festival, the big winner at last night's ceremony wasLike Crazy, Drake Doremus's tender and improvised romance starring Felicity Jones and Anton Yelchin that won the Grand Jury Prize for U.S. Dramatic feature. Jones also picked up a Special Jury Prize for her performance in the film, which was picked up for distribution by Paramount early in the festival.

Martha Marcy May Marlene, the film many expected to pick up the U.S. Dramatic prize, was rewarded with the Directing Award in the category for helmet Sean Durkin. Another strong contender wasPariah, which won the Cinematography award for Bradford Young; there was also a second Special Jury Prize given toAnother Earth, recipient of the Alfred P. Sloan Award given to films with a scientific bent.

The full list of winners is available below; when I've seen the films and reviewed them, the title links to my review or video blog. I'll have a full wrap-up of the festival and discussion of which films are the most worth your time later on today.

2011 Sundance Film Festival Award Winners:

 The Grand Jury Prize: Documentary was presented toHow to Die in Oregon,directed by Peter D. Richardson. In 1994 Oregon became the first state to legalize physician-assisted suicide. How to Die in Oregon gently enters the lives of terminally ill Oregonians to illuminate the power of death with dignity.

 The Grand Jury Prize: Dramatic was presented toLike Crazy, directed by Drake Doremus; written by Drake Doremus and Ben York Jones. A young American guy and a young British girl meet in college and fall in love. Their love is tested when she is required to leave the country and they must face the challenges of a long-distance relationship.

 The World Cinema Jury Prize: Documentary was presented toHell and Back Again, directed by Danfung Dennis. Told through the eyes of one Marine from the start of his 2009 Afghanistan tour to his distressing return and rehabilitation in the U.S., we witness what modern"unconventional"warfare really means to the men who are fighting it. U.S.A./United Kingdom

 The World Cinema Jury Prize: Dramatic was presented toHappy, Happy(Sykt Lykkelig), directed by Anne Sewitsky; written by Ragnhild Tronvoll. A perfect housewife, who just happens to be sex-starved, struggles to keep her emotions in check when an attractive family moves in next door. Norway

  The Audience Award: Documentary was presented toBuck, directed by Cindy Meehl, for her story about the power of non-violence and master horse trainer Buck Brannaman, who uses principles of respect and trust to tame horses and inspire their human counterparts.

 The Audience Award: Dramatic was presented toCircumstance, directed and written by Maryam Keshavarz, in which a wealthy Iranian family struggles to contain a teenager's growing sexual rebellion and her brother's dangerous obsession.

 The World Cinema Audience Award: Documentary was presented toSenna, directed by Asif Kapadia; written by Manish Pandey, about legendary racing driver and Brazilian hero Ayrton Senna, taking us on the ultimate journey of what it means to become the greatest when faced with the constant possibility of death. United Kingdom

 The World Cinema Audience Award: Dramatic was presented toKinyarwanda, directed and written by Alrick Brown, which tells the story of Rwandans who crossed the lines of hatred during the 1994 genocide, turning mosques into places of refuge for Muslims and Christians, Hutus and Tutsis. U.S.A./Rwanda

 The Best of NEXT!: Audience Award was presented toto.get.her, directed and written by Erica Dunton about five girls who come together for one fateful night where anything goes. They all had secrets, but their friendship was the only thing they knew to be true.

 The Directing Award: Documentary was presented toResurrect Dead: The Mystery of the Toynbee Tiles, directed by Jon Foy. An urban mystery unfurls as one man pieces together the surreal meaning of hundreds of cryptic tiled messages that have been appearing in city streets across the U.S. and South America.

 The Directing Award: Dramatic was presented toMartha Marcy May Marlene, directed and written by Sean Durkin. Haunted by painful memories and increasing paranoia, a damaged woman struggles to re-assimilate with her family after fleeing an abusive cult. The World Cinema Directing Award: Documentary was presented toProject Nim, directed by James Marsh, who explores the story of Nim, the chimpanzee who was taught to communicate with language as he was raised and nurtured like a human child.United Kingdom

 The World Cinema Directing Award: Dramatic was presented toTyrannosaur, directed and written by Paddy Considine. For a man plagued by self-destructive violence and rage, a chance of redemption appears in the form of Hannah, a Christian charity shop worker with a devastating secret of her own. United Kingdom

 The Waldo Salt Screenwriting Award was presented toAnother Happy Day, directed and written by Sam Levinson, about a pair of reckless siblings who are dragged into a chaotic family wedding by their overwrought mother.

 The World Cinema Screenwriting Award was presented toRestoration, directed by Yossi Madmony; written by Erez Kav-El, about an antique furniture restorer, who, aided by a young and mysterious apprentice, struggles to keep his workshop alive, while his relationship with his own estranged son, who is trying to close down the shop, begins to disintegrate. Israel

 The Documentary Editing Award Matthew Hamachek and Marshall Curry forA Tree Falls, and directed by Marshall Curry. The Earth Liberation Front is a radical environmental group that the FBI calls America's“number one domestic terrorist threat.” Daniel McGowan, an ELF member, faces life in prison for two multi-million dollar arsons against Oregon timber companies.

 The World Cinema Documentary Editing Award was presented toThe Black Power Mixtape 1967-1975, edited by Göran Hugo Olsson and Hanna Lejonqvist and directed by Göran Hugo Olsson. From 1967 to 1975, Swedish journalists chronicled the Black Power movement in America. Combining that 16mm footage, undiscovered until now, with contemporary audio interviews, this film illuminates the people and culture thatfueled change and brings the movement to life anew.Sweden/U.S.A.

 The Excellence in Cinematography Award: Documentary was presented toThe Redemption of General Butt Naked, directed by Eric Strauss and Daniele Anastasion; cinematographers: Eric Strauss, Ryan Hill and Peter Hutchens. A brutal warlord who murdered thousands during Liberia's horrific 14-year civil war renounces his violent past and reinvents himself as an Evangelist, facing those he once terrorized.

 The Excellence in Cinematography Award: Dramatic was presented toPariah, directed and written by Dee Rees; cinematographer: Bradford Young. When forced to choose between losing her best friend or destroying her family, a Brooklyn teenager juggles conflicting identities and endures heartbreak in a desperate search for sexual expression.

 The World Cinema Cinematography Award: Documentary was presented toHell and Back Again, directed by Danfung Dennis; cinematographer: Danfung Dennis. Told through the eyes of one Marine from the start of his 2009 Afghanistan tour to his distressing return and rehabilitation in the U.S., we witness what modern"unconventional"warfare really means to the men who are fighting it. U.S.A./United Kingdom

 The World Cinema Cinematography Award: Dramatic was presented toAll Your Dead Ones, directed by Carlos Moreno; written by Alonso Torres and Carlos Moreno; cinematographer: Diego F. Jimenez. One morning, a peasant wakes to find a pile of bodies in the middle of his crops. When he goes to the authorities, he quickly realizes that the dead ones are a problem nobody wants to deal with. Colombia

 Two World Cinema Special Jury Prizes: Dramatic for Breakout Performances were presented toOlivia Colman and Peter Mullan for their roles in Tyrannosaur, directed and written by Paddy Considine.For a man plagued by self-destructive violence and rage, a chance of redemption appears in the form of Hannah, a Christian charity shop worker with a devastating secret of her own. United Kingdom

A World Cinema Special Jury Prize: Documentary was presented toPosition Among the Stars(Stand van de Sterren) directed by Leonard Retel Helmrich, for his expose of the effects of globalization on Indonesia's rapidly changing society as it ripples into the life of a poor Christian woman living in the slums of Jakarta with her Muslim sons and teenage granddaughter. The Netherlands

 A Special Jury Prize: Documentary was presented toBEING ELMO: A Puppeteer’s Journey, directed by Constance Marks, an inspirational film that crosses cultures and generations 

A Special Jury Prize: Dramatic was presented toAnother Earthdirected by Mike Cahill; written by Mike Cahill and Brit Marling. On the eve of the discovery of a duplicate Earth, a horrible tragedy irrevocably alters the lives of two strangers, who begin an unlikely love affair.

 A Special Jury Prize: Dramatic was presented toFelicity Jones for her role in Like Crazy, directed by Drake Doremus; written by Drake Doremus and Ben York Jones. A young American guy and a young British girl meet in college and fall in love. Their love is tested when she is required to leave the country and they must face the challenges of a long-distance relationship.

 

Source

Interview: The Way Back's Jim Sturgess

"Interview: The Way Back's Jim Sturgess"src="http://www.cinemablend.com/images/news_img/22753/jim_sturgess_22753.jpg"style="border: 1px solid black;margin:1px;margin-left:5px;position:relative;"align="right"vspace="3">Imagine hiking 4,000 miles. Now imagine doing that hike over icy tundra and a seemingly unending desert. Now imagine having no food and barely any supplies. Now imagine that you are meant to be the strongest member of your party, which consists entirely of inmates who have escaped from the gulag. It’s hard enough to even think about that level of pain, but in Peter Weir’sThe Way Back, Jim Sturgess lives it.

I recently had the opportunity to sit down in a roundtable interview with the young actor to discuss his newest film. Talking about accessing his character, meeting actual survivors of the journey, and working with a tight nit cast and crew, it was a fascinating look behind the scenes of a truly epic film. Check out the interview below.

Was it easier shooting on location because you didn't have to imagine yourself freezing like you would have on a sound stage?

Yeah, actually it's true. It took me a while because I'm like,“God, I'm just not giving a performance here,” because most of the time it was totally real. You know what I mean? So yeah, there was no acting required when you're freezing cold and Peter Weir's going, “Okay, you've got to be freezing cold.” It's like, “Yeah, I'm there. I think I can do that.”

How did you come to this project?

Peter was seeing actors in London and we sort of knew that he was in town. Peter asked to see me within the group of other English actors kind of thing. So I went down to a hotel in London to go and meet him, but I was actually filming another film at the time. We'd been doing night shoots so I hadn't even been in bed. You know, I'd been filming all night and had gone home, splashed some water on my face, just like,“Come on, get yourself together.” So I went down to go and meet him and it was a fairly kind of lucid meeting to say the least. {laughs} Because when you're filming it's just impossible - it takes every moment of your life. I'd managed to flip through the script. I had a vague idea of what it wasall about, however I went totally underprepared for Peter Weir who's probably the most detailed and prepared man you could possibly meet in life. You know, it wasn't the greatest meeting from my point of view, and he was so kind. We talked and he told me all about what the film was about and what hewas hoping to do."

"But I left sort of feeling like I hadn't done enough for myself, you know? I felt kind of disappointed. I felt,“Well, fuck it, I'm just going to put myself on tape and write him a letter and hope for the best.” So I did that and luckily that seemed to seal the deal as it were.

Are the tapes going to be on the DVD?

They're in the film. We spliced them in and no one even knows {laughs}. I don't know. I have no idea. It was horrible. It was like in this hotel room. I was just kind of holding the camera.

How do you access this Polish character?

We had books and documentaries, just sort of giving us a historical background of the time and what was kind of going on for these people. Finding out about the camps and what people went through. I managed to track down real Polish survivors who were living in England, so I was really lucky to be able to do that. I met up with three or four people who this had really happened to, who would give me first-hand information about certain things. And then one guy had not only survived the gulag system but escaped, so to meet a real escapee for me who was playing this escapee, I was so pleased that we managed to track him down.

I went to his home in England and met his family - his son and his wife. They were living proof that he made a life for himself. He had a son who's now in his 40s. It was a really eye-opening sort of experience to sit in a room with someone who that had really happened to, who wasn't particularly strong-looking. Even in his photographs he showed me, as a boy he wasn't a tough-looking guy at all. He was regular, normal guy. And then to sort of realize, which was my biggest shock I think, that it didn't happen that long ago because he was right there in front of me.

To me, I learned some stuff about the Nazis and the German invasion, but nothing really about the Soviet side. But it always felt like any of the research I was doing with Peter and any of the books he was giving me and the documentaries, it was always that grey, black and white image of a camp or a person or whatever. So in your mind you're able to just pretend that that happened years and years and years and years ago, and here was someone who was sitting next to me reminding me that it was a pretty recent tragedy.

What did he tell you that informed your character? Was there something he said that stuck with you throughout filming?

God, his sense of humor probably. He still had a lot of his humanity intact. He was still able to find things in the stories he told me. I remember him belly laughing telling me this story about when they used to huddle around one blanket, one person would pump up a fart and he thought that was hilarious. But yeah, just loads. As a boy as young as he was, pulling clothes off of dead people that he knew just to keep warm. Stealing the half-deads' clothing because he knew that they were gone, even though they hadn't gone. You knew they had no chance so you would take their clothes because you wanted to get first dibs on them. That's a hard thing to know that you've done that and you've seen that, and to go to bed with that every night. He was full of stories like that.

Peter Weir was very deliberate in using actual events to create a fictional story. How beholden did you to the actual events?

We were sort of guided by Peter in that sense. He would set up the scenarios or whatever, and I think we all just had total faith in whatever he was doing. So I personally didn't feel the pressure for the particular scenes, just as long as I felt like I captured what Peter wanted which was a sort of real man, not a hero but forced into this particular situation, that he wasn't some sort of survival expert.

We talked about how he might {know about survival}. Peter said,“Where do you think he gets all this from? How much do you think he knows about the outdoors?” We came up with a whole backstory about the Polish boy scouts. I found out a whole history of the Polish boy scouts that were operating around the areas that we felt my character might have come from. Sowe felt, 'Okay, so he's got a boy scout knowledge of survival,' you know? From my point of view it's just to try and keep Janusz as real as possible.

Do you have to be reliant on Peter Weir to make sure the subject matter is treated with respect, yet you're not making a film that plays like this is an“important movie so therefore everything we do is important” in tone?

Yeah, we sort of knew, and even from the nature of the script... The script on paper was quite a bizarre read because it was really Peter's director's notes even. You knew it didn't read like an average Hollywood movie. You sort of go, 'What's going to happen?' So I think we all really pretty quickly knew what Peter was trying to do and sort of strip everything down, even emotionally.

From an acting perspective, there was no scenes of, you know, me and Colin {Farrell} sort of crying as we said good-bye at the border and giving each other a hug as he hands over his knife. It was like, 'No, that's not real.' Certainly people who went through this quite very young, even my dad's generation, I had to teach him how to give you a hug. You know what I mean? So, yeah, Peter was very cautious, and for us too, when to turn on the emotional tap. But he talked about the more you hold it down, the more powerful it sort of becomes. That's when you watch it, when I watched it for maybe the second or third time - I've seen it three times now - that it really becomes more apparent. You see the real details in everybody. There's no tricks. You know, you're not going,“Okay, I'm going to do my crying scene now. This is going to be really emotional,” and then I'd think about dying puppies and burst into tears. You know, there's something that you can feel is really held deep down. But that was Peter's guidance, definitely for all of us.

What did you take away from spending so much time as a group?

A lot. So much so that it's sort of impossible to put down on paper. I guess it all comes into your subconscious, really. You're just spending time with really interesting, really amazing people. To spend time with Ed Harris...he's an acting hero of mine so that's a big deal for me. But no, just to be in a film with him where you might have a couple of scenes, or you might do a few scenes together and then you've got a few days off. We were on set all day, every day, all together going through this epic sort of journey. We all feel bound for life by that.

Are there any really exhilarating moments while you were shooting that you can recall?

Yeah, I mean there were loads because as much as it was hard, and it was difficult at times - it was a very physical film - but almost as much as it was hard all the time, that was what sort of energized you the most. I mean to film out in the Sahara Desert and to be woken up, as often happens when you're making a film you have to get up at like four or five in the morning, to sort of be woken up by that prayer that they pray, that they blast over the loudspeakers. As you wake up to sort of Morocco coming to life and you drive a two hour journey through the desert as the sun is rising over the sand dunes...I saw landscapes and visual stuff that I'll never forget. It was special.

For me, it was a life experience; it wasn't just making a film. We had our own journey that we all had making the film. Friends were made with such a {great} team of people, from the makeup team to the costume team to the lighting guys, the camera department. You're a traveling circus. We went on this sort of epic adventure and bonds were made. It was just a huge, big deal. And then we wrapped in India with all those kids kind of around us, it was really quite powerful and emotional. And then you've got the gift of the film at the end.

Source

First Clip From James Cameron Produced Sanctum

"First Clip From James Cameron Produced Sanctum"src="http://www.cinemablend.com/images/news_img/22756/sanctum_22756.jpg"style="border: 1px solid black;margin:1px;margin-left:5px;position:relative;"align="right"vspace="3">It’s clear to marketers now that simply putting James Cameron’s name on something, even if it’s just as executive producer, will get people interested in your film. The film was directed by newcomer Alister Grierson who’s hoping to make his mark with a big 3D feature debut, and with Cameron’s guidance he may have done it.

Sanctumfollows a group of underwater cave divers forced deeper and deeper into the depths of our planet. The trailers will have you think it’s a monster movie but that’s not the case. Across the pond,HeyUGuysgot their hands on the first clip fromSanctumshowing off a massive underwater cathedral that had never been seen by human eyes, a momentous find for the crew.

We all know that James Cameron can direct action and I’m sure he helped out onSanctumeven if it was just from the EP chair. Check out the clip below and sound off about what you think about this movie when it hits theaters February 4.

Here’s the official synopsis.

The 3-D action-thriller Sanctum, from executive producer James Cameron, follows a team of underwater cave divers on a treacherous expedition to the largest, most beautiful and least accessible cave system on Earth. When a tropical storm forces them deep into the caverns, they must fight raging water, deadly terrain and creeping panic as they search for an unknown escape route to the sea. Master diver Frank McGuire (Richard Roxburgh) has explored the South Pacific’s Esa-ala Caves for months. But when his exit is cut off in a flash flood, Frank’s team–including 17-year-old son Josh (Rhys Wakefield) and financier Carl Hurley (Ioan Gruffudd)–are forced to radically alter plans. With dwindling supplies, the crew must navigate an underwater labyrinth to makeit out. Soon, they are confronted with the unavoidable question: Can they survive, or will they be trapped forever?

Source

Peter Jackson Hospitalized, Hobbit Filming Delayed Again

"Peter Jackson Hospitalized, Hobbit Filming Delayed Again"src="http://www.cinemablend.com/images/news_img/22847/the_hobbit_22847.jpg"style="border: 1px solid black;margin:1px;margin-left:5px;position:relative;"align="right"vspace="3">Maybe you thought that by surviving MGM bankruptcy and accusations of castingracism, solving politically motivatedlabor disputes, and eventually dragging a reluctant cast back to New Zealand the worst was over and nowThe Hobbitcould march smartly into production and from there into theaters. If so, you were wrong. Here’s another problem for the already difficulty plagued production: Peter Jackson’s health.

Stuffreports that Peter Jackson checked into a hospital with a perforated ulcer. He underwent surgery and is now resting comfortably. It sounds like he’s going to be ok but, as confirmed by a publicist working withThe Hobbitproduction, it will cause“a slight delay to the start of filming” on the movie. Forget the movie though, what is making this film doing to Peter Jackson’s wellbeing?

He’s ok for now but some doctors believe that physical stressincreases the riskof developing ulcers like the one Jackson suffered from. For the past year, Peter Jackson has looked nothing but stressed, andThe Hobbithas been the cause of it. He didn’t want to direct it, but was sort of forced into it, and once he was plopped into the middle of it, was immediately under assault from all sides as at every turn the project threatened to crumble around him. That has to take a toll on you eventually. Maybe this was why he didn’t want to directit in the first place. We all really want to seeThe Hobbitbut, take care Peter. You’ve already given us three amazing Middle Earth movies, if that’s all you’ve got in you, then that’s all you’ve got.

Get well soon Sir Peter. Eat something! After all, maybe the answer is to bring back this guy,the fat Peter Jackson who wore womens' glasses:

That guy with the pipe above, portly and dirty and badly dressed though he was... always seemed so much happier than this guy, the skinny, sad Peter Jackson with fashion sense who directed subpar movies likeThe Lovely Bonesand is now stressing out somewhere in New Zealand:

Source

Mark Ruffalo To Play A Sex Addict In Thanks For Sharing

"Mark Ruffalo To Play A Sex Addict In Thanks For Sharing"src="http://www.cinemablend.com/images/news_img/22759/mark_ruffalo_22759.jpg"style="border: 1px solid black;margin:1px;margin-left:5px;position:relative;"align="right"vspace="3">Though he'll likely continue to be overshadowed by Christian Bale's turn inThe Fighter, one of the best supporting actor performances of 2010 was Mark Ruffalo's in Lisa Cholodenko'sThe Kids Are All Right. Playing a character that was both funny and pensive, the actor was a joy to watch on screen. Lucky for us, he plans on working with the same writer again.

The Daily Mailis reporting that Ruffalo will be reteaming withKids Are All Rightco-writer Stuart Blumberg forThanks For Sharing. An original screenplay by Blumberg, who will also direct the film, Ruffalo will play a one of three sex addicts in a recovery clinic. The movie will be the directorial debut for Blumberg, who was formally a writer onMadTVand wrote the Edward Norton filmKeeping The Faithas well as the comedyThe Girl Next Door. Production for the film will likely work around Ruffalo's schedule as the actor is set to appear in Joss Whedon's superhero ensemble filmThe Avengers, which will be shooting from April to September.

While Ruffalo has always been around, one gets the sense that he is going to finally start getting the recognition that he deserves. He is easily one of the more under appreciated actors working today and can balance both comedy and drama equally well. If Ruffalo's involved, that's reason enough to be interested.

Source

First Look At Taylor Lautner's Abduction

"First Look At Taylor Lautner's Abduction"src="http://www.cinemablend.com/images/news_img/22764/taylor_lautner_22764.jpg"style="border: 1px solid black;margin:1px;margin-left:5px;position:relative;"align="right"vspace="3">Say what you want about Kristen Stewart but, at least she’s not cashing in on herTwilightfame to show up in mega-blockbusters where she probably doesn’t belong. Instead, outside ofTwilightshe’s stuck with edgy, challenging little indie movies. Now that it’s Taylor Lautner’s turn to step outside theTwilightworld, he’s taking a different path, and going straight to the mega-blockbusters.

He’ll show up in his first non-Twilightstarring role (though he did have that glorified cameo inValentine’s Daylast year) in the action thrillerAbduction. It stars Lautner as a young man who discovers the people who raised him aren’t his real parents, a discovery which triggers a series of events that leave him on the run for his life. Lilly Cole and Sigourney Weaver co-star and John Singleton is directing.

The movie’s not due in theaters until September 23rd but we’ve got your first look right here. Three photos, one from the set, two straight from one of the film’s reels. Click each photo to see it bigger:

It’ll be interesting to see if Lautner’sTwilightfame will translate into such a completely different film genre. To date, it hasn’t really worked out for either Kristen Stewart or Robert Pattinson, mired in a world of indie-films that have been all but ignored. Maybe going straight to high-octane action movies is the right movie for America’s most famous, heavily-muscled lycan.

For more onAbductionvisit its page in ourBlend Film Database.

Source

New Pirates: On Stranger Tides Image Proves 3D Gimmicks Can Be Enjoyed In 2D

"New Pirates: On Stranger Tides Image Proves 3D Gimmicks Can Be Enjoyed In 2D"src="http://www.cinemablend.com/images/news_img/22765/pirates_of_the_caribbean_22765.jpg"style="border: 1px solid black;margin:1px;margin-left:5px;position:relative;"align="right"vspace="3">Wondering whetherPirates of the Caribbean: On Stranger Tideswas really shot in 3D as promised? Here’s the proof, a new photo of Ian McShane as Blackbeard just handed over to us by Disney, in which he’s thrusting his sword at the camera. Rarely does a lot of thrusting things at the camera ever happen in anything that isn’t shot in 3D, though, maybe it should.

The image, unlike the movie, is in 2D and the whole thrusting the sword at that camera thing still looks pretty cool. I don’t really need annoying glasses to enjoy it. It’s a great shot. Enjoy it in 2D below.

InPirates of the Caribbean: On Stranger TidesJohnny Depp returns as Captain Jack Sparrow and crosses paths with the enigmatic Angelica (Penelope Cruz), he’s not sure if it’s love—or if she’s a ruthless con artist who’s using him to find the fabled Fountain of Youth. When she forces him aboard the “Queen Anne’s Revenge,” the ship of the legendary pirate Blackbeard (Ian McShane), Jack finds himself on an unexpected adventure in which he doesn’t know whom to fear more: Blackbeard or Angelica, with whom he shares a mysterious past.

Source