Hollywood: titanic director

The Curse of the Black Pearl, part of the Pirate Captain series, won't hit theaters until 2002. This delay is partly by choice, partly by circumstance. 

When it comes to who should play Captain Jack, there's no question—it has to be Johnny Depp. 

No one else could bring the iconic flair to Captain Jack that Johnny Depp does! In fact, his performance is so defining that Orlando Bloom, one of the two male leads in the series, feels almost invisible by comparison—practically a placeholder. 

By the fourth film, the producers even axed Bloom's character entirely, turning the movie into a one-man show for Johnny Depp. 

Before all this, Cameron had planned to send Johnny Depp an audition invite. That's when he found out Depp was tied up shooting Fox's From Hell, which wouldn't wrap until September at the earliest. 

With Johnny Depp unavailable, there was no way The Curse of the Black Pearl could start filming this year. 

On top of that, just building the Black Pearl pirate ship would take three months. 

For Dunn, The Curse of the Black Pearl still has a few hurdles to clear. 

How do you solve the problem of Johnny Depp stealing the show? 

The Pirate Captain series can't just be about him. His carefree, roguish vibe doesn't lend itself to romantic subplots either. And if it's nothing but endless sea adventures, audiences will eventually get bored. The story needs more layers, more elements to keep it fresh. 

That's why the second male lead, Will Turner, can't be as bland as he was in the original. He needs a distinct personality—maybe not enough to rival Johnny Depp's charisma, but at least enough to leave an impression. 

That way, even if fans tire of Captain Jack's nonstop escapades, they could spin off Will Turner's story—his background, growth, relationships, and adventures—to keep the Pirate Captain franchise alive and kicking. 

Because of this, Dunn has only sketched out a rough outline for The Curse of the Black Pearl. The full story and its main arc still need to be hashed out with the director and writers. 

Which brings up another issue: who's the right director? 

The original director? Nope, he's out. 

For one thing, he couldn't rein in Johnny Depp—that's reason enough to pass. 

Johnny Depp's unrestrained energy made the Pirates of the Caribbean series what it is, sure. But that same wild freedom also ran it into the ground. 

They need a director who can keep Johnny Depp in check and limit his room to overplay. 

Dunn held a small meeting with Bill Mechanic, Andrew O'Hare, Jonathan Nolan, and Glenn Fiero to talk it over. 

When Dunn insisted that Captain Jack had to be Johnny Depp, Jonathan Nolan's eyes lit up. "Tim Burton!" he blurted out. 

"Tim Burton?" 

"Yeah, him! Johnny Depp became a Hollywood A-lister because of Tim Burton's mentorship. Their collaborations—Edward Scissorhands, Ed Wood, Sleepy Hollow—they're all standouts!" 

Clearly, Jonathan Nolan was a fan of Burton's style. His eyes practically sparkled as he spoke. 

"Tim Burton?" Bill Mechanic frowned. "His personal style's too strong—dark, gloomy, niche. Batman Returns wasn't exactly a hit." 

Jonathan brushed it off. "Even if Batman Returns didn't shine, it's still better than Batman & Robin, right? Its box office flop was more about the market—superheroes were in a slump back then. You can't pin it all on Burton." 

Dunn knew Jonathan loved dark vibes—just look at The Dark Knight trilogy, The Prestige, or Westworld. He turned to Andrew O'Hare. "What do you think?" 

Andrew paused, then said, "Dunn, it really comes down to what you want out of the Pirate Captain series." 

"How so?" 

Andrew spoke slowly. "I've watched Burton's films over and over. They've got this unique quality—vivid colors, quirky characters, wild costumes. They seem absurd and free-spirited, but there's a captivating magic to them. More importantly, he's one of Hollywood's boldest, most imaginative, and innovative directors!" 

Dunn nodded thoughtfully. "So, Tim Burton's films stand apart from mainstream Hollywood style, right?" 

Glenn Fiero, Dunn's go-to casting assistant, chimed in. "If Pirate Captain is meant to be a typical Hollywood blockbuster, Burton's not your guy. But if you want something absurd, fantastical, personal, and visually unique, he's the only choice!" 

Dunn burst out laughing. "Got it! Send the script outline to Tim Burton—and let him know Johnny Depp's our lead!" 

Tim Burton's reputation is huge. Dunn didn't just pick him for Pirate Captain because he's a quirky genius. It's also about his career trajectory. 

Burton started as a Disney animator but got fired for his dark style. He bounced around studios, churning out classics and carving out a gothic niche in Hollywood with his "Burton-Depp-Helena Carter" trio. 

Later, Disney, under new leadership, wanted him back. They dangled a big project—Alice in Wonderland—to lure him into a second collaboration. 

If Dunn swoops in now with Pirate Captain, tying Burton to his team and cutting off Disney's chance, it could be a long-term win worth way more than short-term box office bucks. 

Weakening a rival is as good as strengthening yourself! 

Dunn Films sent Burton's agent an offer and the script outline. To Dunn's surprise, just a day later, he got a reply—Tim Burton invited him to visit his private museum. 

In Hollywood, collecting art is a trend among stars—part status, part investment. But Burton owning a whole museum? That caught Dunn off guard. 

Since it was their first meeting and a formal one, Dunn brought Natalie along, who was still filming in LA. 

She'd been staying at a hotel for work to stay in the zone, so they hadn't seen each other in a week. Dunn missed her. He hugged her close and teased, "So, how's George's directing style compared to mine?" 

Nestled in his arms, Natalie said, "Lucas… it feels like he hasn't directed in ages." 

"Hm?" 

"I just mean… this movie's definitely not coming out next year. The shoot's going to drag on." 

Dunn went quiet for a moment. 

Not next year? So, 2002? 

That'd put it head-to-head with Spider-Man 2. Things just got interesting. 

They arrived at the location—an old museum, at least a century old. Tim Burton and his girlfriend, British actress Helena Bonham Carter, were waiting at the entrance. 

Helena was stunning, with that refined British elegance. But Dunn's focus was all on Burton. 

He stood out like crazy! 

Wearing a slightly ill-fitting black suit—too tight, really—he had black-and-white striped socks peeking out from under his pant legs. He smiled warmly, looking friendly enough, but his eyes… there was something deep and shadowy lurking beneath that kind exterior. 

"I heard Burton had a rough childhood," Natalie whispered in Dunn's ear. "His parents used to lock him in the house, even nailing the door shut with boards. He moved to his grandma's place later and went through some therapy. That's why his movies always mix fantasy with warm family themes." 

The bodyguards got out first—two scoped the distance, two checked nearby, and two stayed by the car. Once everything was secure, the driver stepped out and opened Dunn's door. 

By then, Tim Burton and Helena had been waiting awkwardly for a full five minutes. 

Dunn hopped out, apologizing right away. "Sorry to keep you waiting! I'm at the mercy of my security team. They call the shots on safety—sure, I pay them, but I've got no say." 

Helena smiled. "Director Walker, you're too polite. We're actually jealous of your amazing, responsible bodyguards." 

Tim Burton, though, gave Dunn's security a long look. "They… they're ex-military, aren't they?" 

Dunn grinned and nodded. "Yep. Three of them were in the Gulf War. The big guy, Arnold, was a captain. Lost two fingers to a bullet, so he retired and switched careers." 

Burton nodded. "You can tell—they've got a different vibe." 

Natalie skipped over, beaming. "Hey, Helena, long time no see! Director Burton, I'm a huge fan of your movies—especially Batman. I think it's way better than this guy's Spider-Man!" 

Any lingering tension from Burton's long wait melted away. He laughed heartily. "Miss Portman, I finally get why, out of all the beautiful girls in Hollywood, you're the one who stole Dunn's heart." 

Natalie huffed playfully. "You've got it wrong, Burton. He chased me—I didn't steal him!" 

Dunn, Burton, and Helena all cracked up, and the heavy mood finally lightened. 

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