弗兰肯斯坦：解剖课（2025）

But I am a pest.
我的办公室设在美术部门
I put my office in the art department.
我要求一周看两到三次道具
And I demand to see props two, three times a week.
一个失败的布景可以让你马上出戏
A bad piece of set decoration can pop you out of the movie.
因为那就不再真实
'Cause it's not real anymore.
最初阶段我们就像在跳探索之舞
Early on, we were sort of doing this dance
想我们对玛丽·雪莱的 《科学怪人》的理解是什么
of "What is our take on Mary Shelley's Frankenstein
吉列尔莫的理解是什么
and what is Guillermo's vision of that?"
我倾向于非常真实和精确 并带有历史感
My tendency is to be really real and accurate and historic,
而吉列尔莫更倾向于幻想风格 不断拓展视觉效果
and Guillermo is more into the fantasy
and pushing the vision.
两种诠释的结合发挥了奇效
That combination of our two visions together really works.
在某个阶段 吉列尔莫喜欢
At some point, Guillermo likes to go
从非常粗略的概念 直接发展到完整的三维模型
from the very rough concept to, like, fully 3D model.
它必须从幻想出发 再逐渐落地到更贴近现实的层面
It has to go from being rooted in fantasy to a little more rooted in reality.
这些模型基本上是 场景的第一个实体外观...
These models were basically the first physical look at these sets
(助理美术指导 玛丽露·瓦扬库尔)
before construction goes in and actually starts building the real thing.
...在正式开工搭建真实布景之前使用
这些模型帮助我们预想 场景中将会发生的事情
They helped visualize what will go on in that set.
美术组能用的工具越多就越能更好地
The more tools that we can use as an art department
向吉列尔莫和丹·罗斯特辛 传达设计理念
to share with Guillermo and Dan Laustsen to get the design ideas across the better.
然后一直有一个问题
And then there's always the question
吉列尔莫认为哪些部分 必须要搭建成实景
of what's important for Guillermo to have as a built set.
维克多的公♥寓♥必须建成实景 这是我最喜欢的场景之一
Victor's apartment was a must-build, and one of my favorite sets.
剧本中写到这是一个 几乎拥挤到不可能的歪斜场景
It was scripted that it was this impossibly cluttered and crooked set.
这样的电影开场非常棒
It was a really beautiful way to start the movie,
因为这是开头的场景之一
'cause it was one of our first sets,
可以说为我们的电影定下基调
and it sort of set the tone for what our Frankenstein would be.
我记得我第一天进入实验室的场景
I remember I had my very first day in the lab set.
落叶飘落 水声潺潺 你抬头望去 只觉得震撼至极
Leaves are falling, water's trickling,
and you look up and you just lose it.
非常宏伟壮观
It's so big, it's so magnificent,
你都不相信这是在摄影棚里
you can't believe it is inside of a studio.
实验室必须壮观
Well, the lab had to be spectacular.
这是创造诞生的地方
I mean, it's the place where the creation takes place,
可以说是最极致的场景
and it's kind of the ultimate set.
讽刺的是实验室在人们心中 极具标志性
The irony is the lab is so iconic in people's heads,
在我们看过的不同版本中都是如此 但原著里没有
from the different versions that we've seen,
but it's not in the book.
玛丽·雪莱在原著中略去了创造经过
Mary Shelley just skips over the how.
第一版和其他版都拍了实验室
From the original movie and everything, there's been a number of those labs,
但吉列尔莫当然想超过他们
but, of course, Guillermo, he needs to top all of those.
我觉得我们做到了 绝妙融合
I think we did that, with a brilliant combination
美术、灯光、特效
of production design, lighting, special effects.
场景里面可以下雨 雷电交加
You know, we're raining inside there and we got lightning flying.
视觉效果极佳
It was really something to see.
我早就知道我想在实验室里 用大型摇臂拍摄
I knew that I wanted to shoot in the lab with big cranes,
要移♥动♥到很多位置 像演唱会一样
with a lot of movement, like a concert.
所以我知道我要用那些摇臂 在空中上下穿梭
So I knew I was gonna have the cranes sweeping up and down.
那感觉就像是一位音乐人或表演者
It was a mixture between a musician or a performer,
在不同的合成器之间切换 必须往上跑十层楼
going from one synthesizer to the other
and having to run ten stories up to call in the power of electricity
去召唤电的力量 再跑下十层楼
and come ten stories down.
当暴风雨终于来临 氛围变得疯狂
And how frantic it is when the storm finally comes.
几天雨水连绵
Being there,
with those days of rain and seeing the way it transforms
你看到空荡破旧的水塔 变成布满身体残肢
from just an empty, rundown water tower to this mad lab,
和鲜血的疯狂实验室
with body parts and blood strewn all over the place,
而正中♥央♥ “怪物”被钉在十字架上 场面震撼至极
and at the center, this crucified Creature,
it was astounding.
我们的位置大约在塔的三分之一处
So we're sort of a third way up in the tower,
在我们的设定里 那座塔有137米高
which is really, in our world, 450 feet high.
在我们下面是大厅
So, below us is the lobby,
再往下是“怪物“的囚室和一个冰室
and then below that is The Creature's cell and an ice chamber.
再往上是一直延伸到塔顶的漩涡
And then going up, this vortex goes all the way to the very top of the tower,
维克多必须在那里连接避雷针
where Victor has to attach the lightning rod.
(监制 J·迈尔斯·戴尔)
And then there's a chute that goes down the middle that, by dropping things down
然后塔的中♥央♥有一个贯通的滑槽 通过从上往下投掷物品
我们把所有这些场景串联起来
from one to the other, we tied all of those things together.
吉列尔莫想要铺满瓷砖的恐怖空间
Guillermo wanted a tiled nightmare.
早期只有非常粗略的草图 画着伊丽莎白和“怪物”站在一个
There was a very rudimentary sketch early on of Elizabeth and The Creature
铺满瓷砖的圆形空间前 这就是他最初的全部构想
in front of a tiled circle, and that was all he had.
所以这里的概念 是一个拱形的哥特式地下空间
So the idea of this is it's a vaulted Gothic-style tiled nightmare of a place
一个铺满瓷砖的噩梦之地 位于实验室下方
that's underground, below the lab.
有的瓷砖是真的 有的是我们做的
Some of the tile is real, some of the tile we created.
这个场景有点难度 因为我们还要把它烧了
It's a bit of a tricky set because we had to burn the set, basically.
塔玛拉创造了杰作
What Tamara has done here is a masterpiece.
这个场景棒极了
You know, the set is so amazing.
当然 因为所有镜头都是用摇臂拍摄
But, of course, because everything is shot on the crane,
所以所有墙面都必须能移开 以便让摇臂进入
all the walls have to fly to be able to get the crane in.
你搭建的布景中 一切都得能移♥动♥
If you're building a set, you want to move everything.
而且必须在你发出指令后 三分钟内完成
And it has to move within three minutes of you saying, "Move that."
所以无论是蒸汽机、柱子、拱门
So anything that was there, a steam machine, a column, an archway,
你都得移开 让摇臂可以进入场景拍摄
you need to remove it so the crane can go into the set and shoot.
整个布景由上方的格子和天花板支撑
So, the set is supported by the grid and the ceiling,
我们必须想办法让柱子能够灵活移♥动♥
so we had to come up with a solution for wilding columns.
我们设计了一套机械装置
So what we have is a machine that comes in,
可以抬起这一部分结构 然后将其拉出
lifts this section up and then this pulls out,
放下后固定在原位 这样我们就能移除它
and then it drops down into position so we can pull it out
让摄影机顺畅地穿过场景
so the camera can sweep through.
我们极具才华的团队做到了 太天才了
Our talented team put that together.
Genius.
我以为需要我帮忙
I thought I would offer some help.
很容易
That was easy.
我以为我会做...
I thought... I thought I'd make up...
我们把设定处理成实验室下方 有两个拱形空间
So we're playing it as if there's two vaulted chambers below the lab.
其中一个是冰室 外观会稍有不同
One will be the ice chamber, so it has a slightly different look,
然后我们会重新把这里布置成 “怪物”的囚室
and then we're gonna redress it for The Creature's cell
维克多做好“怪物”之后把他放在这里
where Victor puts The Creature after he's created him.
我们再来一次 然后你说:“好” 然后移♥动♥
Let's do it again. And you just go, "Yeah." And you move.
我们本可以在摄影棚里搭建这艘船
We could have built the ship on a stage,
但没有哪个棚能容得下那么大的体量
but there's no stage really big enough to hold it.
所以我们选了停车场
So we built it in a parking lot.
那艘巨大的船一直在那里 是整个制♥作♥的象征
It was always there, this icon of the production,
just this massive boat.
是个庞然大物
It is so big.
一件宏伟而精湛的工艺杰作
It's a monumental piece of craftsmanship.
就像一个视觉幻象 让人完全摸不着头绪
It's like an optical illusion. It doesn't make any sense to you.
我想要真实的船
I want a real ship.
我希望当“怪物”推动它时 真的是由他亲自推动
I want when The Creature moves it, I want The Creature to move it.
所以我们搭建了真实的船 从里到外 一切都是真的
So we did the ship for real.
Interior, exterior, everything.
那场戏非常令人兴奋 当我们终于有机会真正拍摄
It was very exciting,
'cause when we got the chance to actually shoot that scene
我被抬上那艘船的场面时 周围都是水手和火把
where I get lifted up onto the boat itself, with all the sailors
船体巨大而且会移♥动♥
and the torches everywhere, it was massive and it moved,
架在可摇动的平台上 四周布满绳索和真正的桅杆
and it was on a gimbal
with ropes and real masts all over the place.
对熟悉玛丽·雪莱的 《科学怪人》的读者来说
So, for anyone familiar with the novel Mary Shelley's Frankenstein,
你会知道故事始于船上的船长日志 也终于这本日志
you'll know that it starts and ends with the captain's log on a ship.
所以我们必须 让电影有一个有力的开场
So, for us, we had to come up with strong opening for the front of the movie
这艘船被困在北极冰原
where the ship is stuck in the Arctic ice,
而这里正是许多高♥潮♥戏份发生的地方
and that's where a lot of the climactic action takes place.
所以我们必须让这艘船 逼真地置于北极冰原之中
So we had to set this ship convincingly in the Arctic ice.
你看到那些冰山
You see all of these icebergs that were made
由特效部门和美术部门制♥作♥ 非常逼真
by our special effects department and our art department.
They look incredible.
船体还必须能左右摇晃
The ship also had to shake from side to side,
所以我们使用了“万向平台”
so we have what is called a gimbal,
能让船向任意方向倾斜九度
that moves it nine degrees in either direction.
这是“地平号♥”的模型
What we have here are ship models for the Horizont.
(第一助理美术指导 亨利·萨洛宁)
它经历了多个阶段 用来确定船体的运动方式
It went through many phases,
helping determine how the ship moves,
以及要搭建的部分
how much of the ship is built.
还用于特技部门确定
This was used for stunts to figure out
船体左舷哪些部分 需要设计成可移♥动♥结构
which portions of the ship would wild on the port side,
我们在上方架设了绳索系统 供索具团队使用
and we had our rigging up top for a rigging team.
我们有部分升降平台 可根据拍摄需要移♥动♥