LOS ANGELES: Jason Clarke plunged into frigid waters, repeatedly, for his role as the late Sen. Ted Kennedy in “Chappaquiddick.”
The Australian actor said his research about the accident that thwarted Kennedy’s presidential chances included jumping into Poucha Pond, the same waters the Massachusetts Democrat’s car crashed into in July 1969, killing Mary Jo Kopechne.
Clarke said the indie film, which is in limited release on Friday, doesn’t try to sensationalize the accident, which Kennedy failed to report for nine hours.
He said the film sticks “to the facts as much as we could and to play it out without scandalizing, without going to the tabloid of it.”
“This man committed this act and he worked his way out of it with help and with his own moral journey to the other side, where he then became one of the longest-serving senators in history. I don’t think — partisanship aside — you can’t take away from what he did.”
Kennedy went to Martha’s Vineyard to race in the Edgartown Regatta and on the evening of July 18, 1969, attended a party at a rented house on Chappaquiddick Island. Guests included Kennedy friends and several women, including Kopechne, who had worked on the presidential campaign of his brother Robert F. Kennedy, assassinated a year earlier.
Kennedy and Kopechne, 28, left the party together and a short time later their car plunged into Poucha Pond. Kennedy escaped from the submerged vehicle and said he made several futile attempts to rescue Kopechne, who was trapped inside.
Kennedy, who died in 2009, later described his failure to report the incident to police for nine hours as “indefensible.”
Clarke visited the bridge and pond as part of his research for the film, even jumping in.
“It’s pretty much unchanged apart from the bridge itself has got guard rails and wider. There’s no other buildings. The Dike House is still there, the same place. It’s dark. There’s no lights on the road,” he said. “The water is dark and the current is strong.”
“I think I held my breath for five seconds to see where I came up. And I came up a big distance away,” Clarke said.
Kennedy’s underwater escape was recreated in the waters of the Pacific Ocean off Mexico. Clarke said the scene was hard to shoot not only because of the ocean’s cold water, but also because he had to get out of the car while upside down.
The film, an Entertainment Studios release, spends more time on the aftermath of the accident. Clarke said viewers should leave theaters with a greater understanding of Kennedy.
“You can be with Ted a bit. You cannot just externalize it and say bad, horrible, disgusting man. You might want to at the end, but you can be there for it: on the phone afterwards, the walk back, the swim, the lies, the made-up story — or perhaps it’s actually really what did happen. But you can actually stay there with Ted. Not enough to be a Kennedy, but enough to almost touch him,” he said.
Jim Gaffigan, who plays attorney Paul Markham, one of the co-hosts of the party that Kennedy and Kopechne left together, agreed.
“We all have earlier versions of ourselves that we’re not crazy about. At least I do,” he said. “So there is something very interesting about the journey that Ted goes through, and being exposed to his relationship with his father,” he said. “Look, it’s not a documentary, but there is an attempt to be objective and ask objective questions.”
‘Chappaquiddick’ puts focus on aftermath of Kennedy accident
‘Chappaquiddick’ puts focus on aftermath of Kennedy accident
- Actor rehearsed jumping into Poucha Pond — where Ted Kennedy’s car crashed in July 1969 — resulting in the death of Mary Jo Kopechne.
- Ted Kennedy, who died in 2009, later described his failure to report the incident to police for nine hours as “indefensible.”
From historic desert landscapes to sound stages: AlUla’s bid to become the region’s film capital
DUBAI: AlUla is positioning itself as the center of cinema for the MENA region, turning its dramatic desert landscapes, heritage sites and newly built studio infrastructure into jobs, tourism and long‑term economic opportunity.
In a wide‑ranging interview, Zaid Shaker, executive director of Film AlUla, and Philip J. Jones, chief tourism officer for the Royal Commission for AlUla, laid out an ambitious plan to train local talent, attract a diverse slate of productions and use film as a catalyst for year‑round tourism.
“We are building something that is both cultural and economic,” said Shaker. “Film AlUla is not just about hosting productions. It’s about creating an entire ecosystem where local people can come into sustained careers. We invested heavily in facilities and training because we want AlUla to be a place where filmmakers can find everything they need — technical skill, production infrastructure and a landscape that offers limitless variety. When a director sees a location and says, ‘I can shoot five different looks in 20 minutes,’ that changes the calculus for choosing a destination.”
At the core of the strategy are state‑of‑the‑art studios operated in partnership with the MBS Group, which comprises Manhattan Beach Studios — home to James Cameron’s “Avatar” sequels. “We have created the infrastructure to compete regionally and internationally,” said Jones. “Combine those studios with AlUla’s natural settings and you get a proposition that’s extremely attractive to producers; controlled environment and unmatched exterior vistas within a short drive. That versatility is a real selling point. We’re not a one‑note destination.”
The slate’s flagship project, the romantic comedy “Chasing Red,” was chosen deliberately to showcase that range. “After a number of war films and heavy dramas shot here, we wanted a rom‑com to demonstrate the breadth of what AlUla offers,” said Shaker. “‘Chasing Red’ uses both our studio resources and multiple on‑location settings. It’s a story that could have been shot anywhere — but by choosing AlUla we’re showing how a comical, intimate genre can also be elevated by our horizons, our textures, our light.
“This film is also our first under a broader slate contract — so it’s a proof point. If ‘Chasing Red’ succeeds, it opens the door for very different kinds of storytelling to come here.”
Training and workforce development are central pillars of the program. Film AlUla has engaged more than 180 young Saudis in training since the start of the year, with 50 already slated to join ongoing productions. “We’re building from the bottom up,” said Shaker. “We start with production assistant training because that’s often how careers begin. From there we provide camera, lighting, rigging and data-wrangling instruction, and we’ve even launched soft‑skill offerings like film appreciation— courses that teach critique, composition and the difference between art cinema and commercial cinema. That combination of technical and intellectual training changes behavior and opens up real career pathways.”
Jones emphasized the practical benefits of a trained local workforce. “One of the smartest strategies for attracting productions is cost efficiency,” he said. “If a production can hire local, trained production assistants and extras instead of flying in scores of entry‑level staff, that’s a major saving. It’s a competitive advantage. We’ve already seen results: AlUla hosted 85 productions this year, well above our initial target. That momentum is what we now aim to convert into long‑term growth.”
Gender inclusion has been a standout outcome. “Female participation in our training programs is north of 55 percent,” said Shaker. “That’s huge. It’s not only socially transformative, giving young Saudi women opportunities in an industry that’s historically male-dominated, but it’s also shaping the industry culture here. Women are showing up, learning, and stepping into roles on set.”
Looking to 2026, their targets are aggressive; convert the production pipeline into five to six feature films and exceed 100 total productions across film, commercials and other projects. “We want private-sector partners to invest in more sound stages so multiple productions can run concurrently,” said Jones. “That’s how you become a regional hub.”
The tourism case is both immediate and aspirational. “In the short term, productions bring crews who fill hotels, eat in restaurants and hire local tradespeople,” said Shaker. “In the long term, films act as postcards — cinematic invitations that make people want to experience a place in person.”
Jones echoed that vision: “A successful film industry here doesn’t just create jobs; it broadcasts AlUla’s beauty and builds global awareness. That multiplies the tourism impact.”
As “Chasing Red” moves into production, Shaker and Jones believe AlUla can move from an emerging production destination to the region’s filmmaking epicenter. “We’re planting seeds for a cultural sector that will bear economic fruit for decades,” said Shaker. “If we get the talent, the infrastructure and the stories right, the world will come to AlUla to film. And to visit.”
