"The entire company was in new territory with both the magnitude and the period setting of this film," admits producer Todd Black. But the talents of writer- director-producer Brian Helgeland, an Oscar winner for his screenplay for "L.A.Confidential," consistently eased the unit's fears. "Brian writes other worlds really well, and he stays very, very true in each scene," explains Black. "He really researched this. Every word, every location, every character there's a truth to all of them throughout the script. He surrounds himself with people that want truth told. "And he does his homework," continues Black. "He does his homework as a writer, and clearly he's done his homework as a director."

Discussing his latest project, Helgeland explains, 'We wanted to create a period piece that stayed fair to the period but felt contemporary. 1 wanted to make the Middle Ages feel as alive as they were to the people who inhabited them. These people weren't living in an archaic time. They were in the present. For a movie to work, the audience has to be invited in. They can get pushed away if overwhelmed by period costumes, obscure speech and antique music. There must be relatable elements. Our goal was to create a seamless bridge between then and now."

"It is a modern archetypal American story of a self-made person who hurdles social barriers. It's the story of many of us. Personally, I was a fisherman who came from a long line of fishermen. Every male member of my family fished for scallops, except for one uncle who headed to Alaska in pursuit of King Crab. Hollywood was light years away, but I somehow managed to become a working screenwriter. A very long stretch. Then I was a writer who wanted to direct. Another giant step. "A Knight's Tale" is a tribute to anyone who has accomplished something very farfetched."

While the look of the film is magnificently medieval and richly detailed 'm grand Hollywood style, "A Knight's Tale" makes no authenticity claims. Throughout this tapestry of hard times and triumph are woven styles of music, fashion and dance that transcend any pinpointed time. Though extensive historical research was undertaken, Helgeland encouraged his various department heads to follow his lead and to take liberties and flights of fancy that are sometimes six centuries wide. A number of specialists not in evidence on most movie sets were required to realise Helgeland's concept.

Production designer Tony Burrough and costume designer Caroline Harris conceived a colour palette that subtly becomes richer as William's fortunes grow. Harris's period costumes, most particularly the gowns of the noble Jocelyn, would today inspire envy on both Rodeo Drive and Melrose Avenue. The fashions embody the hip, modern edge of this timeless tale of ambition, unbreakable drive and the invincible spirit of youth. In developing a look for the male band of medieval misfits, "Brian and I were inspired a great deal by the look of the Rolling Stones on their 1972 tour," explains Harris. "There is the historical reality, then there's the script, the director and contemporary perceptions, often all working against each other, " says Borough. "You must blend it all together."

Most intriguing of all the film's aspects is the innovative incorporation of classic arena rock music, primarily from the 1980s, that intensifies the feelings of the characters and, ultimately, the film.  The movie's unique tone is immediately established to the sound of Queen's "We Will Rock You." William and his sidekicks undergo intensive training for their delightful deception with the help of War's "Low Rider." Bachman-Turner Overdrive's "Takin' Care Of Business" establishes Williarn's emergence as a real leader and a true friend. In a novel dance scene, David Bowle's "Golden Years" reminds the audience that first love is magical whatever the century. "Get Ready" by Rare Earth helps William dare to risk everything for the capricious Jocelyn. William and his irreverent gang make their grand entrance into London for the Superbowl of tournaments to the music of Thin Lizzy's "The Boys Are Back In Town." "We aren't trying to sell sequences with pop songs," says Helgeland,  "We tried to make all the modern touches, particularly the music, very much organic to the movie."

" Knight's Tale" is set in a time steeped in tradition, romance and adventure. In the 12th century, tournaments were bloody imitations of battle originated as practice grounds for warriors to -improve fighting skills. They were held in Europe between the early 1100s and the late 1600s.  Aside from the Greek games that gave birth to the Olympics, tournament jousting was one of the world's first competitive sports, with accompanying activities such as sword fighting. Knights from around the "civilised" world travelled through England, Scotland, Spain, Italy, Portugal, France, Belgium, Russia and Germany to participate.  They reeked of excitement. Steeped in thrills, money, danger and spectacle, tournaments were the equivalent of our contemporary rock concerts, Superbowls, World Series, NASCAR Championships, Mardi Gras and New Year's Eves. The tournament was a festival that no one wanted to miss.

"One of Brian Helgeland's real gifts is the ability to populate make-believe worlds with flesh-and-blood characters and have you care for them," praises producer Todd Black. "I don't believe the word 'dull' is in his vocabulary. And he is able to entertain without pandering to the audience."

"Filling the wide screen with detail and creating a world is so much fun," Helgeland unabashedly admits.