Sandokan Returns: The Epic Pirate Adventure You Can’t Miss!

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On Sandokan‘s ship, himself and his band of pirates are pondering their next action. The vessel groans and sways, the sails billow in the breeze, and the crew shouts with enthusiasm as they adjust their path towards Singapore. However, one pirate had left his hat behind, necessitating a reshoot. Director Jan Michelini (“The Medici”) kept the cameras rolling, while English dialogue coach Denise McNee corrected a mispronunciation – “ransom,” not “ramson.

In a town on Rome’s outskirts named Formello, Lux Vide Studios has an extraordinary setup. Instead of natural skies and seas, they use a massive 360-degree OLED Wall, boasting a resolution of 24K and measuring 4.5 meters (15ft) in height and an astonishing 70 meters (230 ft) long. For their latest series, they’ve built one out of three specially designed boats that started filming in April.

Stefano Leone, the visual effects supervisor, requests ‘C21’. With a click on his computer, the sea transforms from a gentle tropical wave to a shimmering moonlit expanse. Leone admits that certain CGI elements – specifically a tiger and a snake – have posed significant difficulties.”

“Stefano Leone, visual effects supervisor, asks for ‘C21’. Tapping on his computer, the sea changes from a peaceful daytime swell to an enchanting moonlit scene. Leone acknowledges that creating CGI elements such as a tiger and a snake have been particularly challenging.

Michelini finds joy in the paradox: “What makes this exciting is that we’re in Rome, yet sailing the seas of Malaysia. In a way, it mirrors Salgari, the author who wrote about travels he never experienced. He was an erudite scholar, spending most of his time in libraries, but his only voyage was in the Adriatic Sea. We’re following in his footsteps: we dream of distant lands.

In the late 1800s, the acclaimed Italian author Emilio Salgari penned his 11-book series. This collection served as a muse for numerous films, and “Sandokan” not only graced the silver screen but also became a popular TV series in the 70’s, featuring Kabir Bedi. It went on to be one of the most successful Italian TV productions, with its catchy theme song making it instantly memorable.

As soon as I took on the series, I immediately emphasized to the producers that we needed to acquire the rights to the theme music, which I later passed on to our composers,” Michelini explained. “This piece became a significant element of the show’s character.” For Michelini, his motivation stemmed from the adventurous movies he grew up with, such as “Indiana Jones” and “The Mummy”.

Can Yaman, an up-and-coming Turkish actor, takes on the lead role in this title. Arriving in Italy four years back for this role, Yaman utilized the production delay to establish himself on Italian TV through the series “Violet Like the Sea.” However, his joy is evident that the project has finally been approved: “There’s a sense of nostalgia attached to it,” Yaman shares with EbMaster. “People had high expectations from me, and that creates a significant burden of responsibility. I needed to excel not only to meet their expectations but also to prove myself to everyone: the global audience, my fellow Turks, and Italians. Because when you’re good-looking, people make comments. But I believe I am blessed.” He chuckles, then humbly adds, “Sandokan would probably share the same sentiment.

Yaman’s breakout role in “Violet Like the Sea” catapulted him to fame in Turkey and Italy, and now he’s preparing for his next big part with intense dedication. To get ready, he spent two months training and lost 10 kilos, honing his fight choreography while drawing on his basketball background that earned him a law scholarship in Istanbul. As Sandokan, he fights much like Aikido, often dodging rather than attacking. He views this character as a complex trickster, an active individual, but also deeply spiritual: “He’s a leader without being authoritarian. When he needs to make a decision, his followers gather, similar to a parliament. Sandokan has the charm to persuade everyone; we see glimpses of democracy in him.” During breaks, Yaman analyzes his performance on-screen and listens to advice from his dialogue coach.

Acting as Lady Marianne Guillonk, the British Consul’s daughter who Sandokan abducts, is Cornish newcomer Alanah Bloor (“Waves”). After her time at the Liverpool Institute for Performing Arts (LIPA), Bloor secured the part in December and had three months to ready herself, starting filming in Italy in April: “It was fortunate that I joined the project at the last moment. Luca Bernabei and the rest had already solidified what the production would be about, and I was honing my skills in Liverpool, learning horse riding among other things. I got the role while attending my grandfather’s 70th birthday party.

In every take, Alanah Bloor remains calm and collected, even when more experienced actors slip up occasionally, asking questions like “Where’s my hat?” The challenge of having a significant series spearheaded by two newcomers, Alanah Bloor and Can Yaman, is evident, but their characters’ passionate resolve shines through, guiding the production. After 15 weeks of filming, with eight episodes completed on location in Calabria, Union Island, and at the Lux Vide Studio in Formello, the cameras start rolling. With just a mouse click, the sea and sky transform into a tropical afternoon and a soothing wave, and Sandokan sets sail again.

EbMaster had a conversation with the creator of the series, Luca Bernabei. Apart from being the creative mind behind the show, he is also the producer and the CEO of Lux Vide.

Why do you think that this particular IP will appeal to the market?

It’s no surprise that the 1976 TV series adaptation of Sandokan continues to hold the record for the highest Italian TV viewership. The captivating tale of Sandokan offers a unique escape into the dense jungle, resonating strongly with viewers today who seek to temporarily disconnect from their daily lives. In an era where people yearn for escapism more than ever, it’s no wonder they crave immersive narratives. After a long day, we all just want to unwind and immerse ourselves in a world far removed from our own, living the thrilling adventures that once fueled our childhood dreams. In fact, even as a producer during a screening, I found myself so engrossed in the story that I forgot to take notes and had to watch it again because I’d enjoyed it so much.

How does Sandokan fit into the studio’s international strategy?

As a dedicated proponent, I can attest that the primary hurdle facing European production companies currently lies in maintaining top-tier quality standards amidst escalating costs and constricting budgets. To stay ahead of the competition, we’re committed to being innovative yet productive – a philosophy showcased brilliantly during our work on Sandokan and an approach we aim to apply across all our productions.

Innovation took center stage when, for the first time in Europe, we constructed a 300-meter panopticon adorned with OLED walls, leveraged state-of-the-art CGI technologies, and painstakingly reconstructed an entire 19th-century consulate complete with a bustling tropical harbor filled with ships in Calabria. Our decades of expertise and unwavering dedication allowed us to execute this ambitious project at just €30 million – a feat that typically requires a budget of €60 million for similar productions.

How did you get so much out of your budget?

Initially, my head of production warned me not to proceed with less than €36 million for our project, stating that it would result in significant losses. On the distribution side, we were counseled by Andrea Scrosati, our international distributor and parent company’s COO/CEO Continental Europe at Fremantle, to keep our costs significantly lower to ensure profitability. In the end, we made substantial cuts, amounting to millions of euros. This required some of my most challenging and risky decisions as a producer. Instead of merely adjusting the budget on paper by manipulating numbers, I had to employ intelligent production strategies and put in a tremendous effort into production engineering. These weren’t superficial changes; they were real cost-saving measures that helped us achieve what was once considered impossible.

What was pre-production and production like on the show?

The preparatory stage for our project extended beyond a year. We made significant choices, such as filming most of the naval scenes indoors with OLED backdrops. However, I don’t want to reveal too much – let’s leave some mysteries for when you watch it unfold on screen! With three decades of production experience, what I consider the finest team in Italy, and a gifted director, my long-time collaborator Jan Maria Michelini, who continues to tease me about the extraordinary lengths we went through, this project came to life. In the heat of tight deadlines, Jan even carried the camera on his shoulders to complete the work. The key to such outcomes is having team members who surpass us, who invest their heart, their passion, and their trust.

This interview has been edited and condensed for clarity.

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2025-02-21 15:17