Art director Paul Inglis (på Game of Thrones og Prometheus) udtaler:
One of the diverse projects turned out to be a much anticipated movie shrouded with secrecy. “UK producer Mark Huffam, who was on Game of Thrones, moved on to Prometheus [2012],” explains Paul Inglis as to how he became involved in the science fiction tale helmed by the man responsible for Thelma and Louise (1991) and Gladiator (2000). “Ridley Scott has a lot of ideas he throws into the mix; his mind is incredibly energetic, he is very good at clearly describing what he wants and why he wants it. At the same time he’s happy for people to bring ideas to him, to integrate them into what he’s already doing. He is by no means set in his ways; he is more collaborative than you might expect. But at the same time he brings such a wealth of good ideas to the table that it can look a bit like a one-man show.” As to how one devises an imaginary world, Inglis states, “If it’s something quite futuristic science fiction like Prometheus, the Alien prequel, we have concept artists working in conjunction with the Director and the [Production] Designer creating looks for spaceships and environments, whatever they may be. From that we will add our layer of authenticity because some concept art can be quite esoteric and impressionistic, or sometimes it can be more complex than it is possible for us to make no matter what the budget.”
Questioned about what a Ridleygram is, Paul Inglis answers that Ridley Scott “at every meeting will call for a sheet of paper and a thickish 5-point pen and he’ll start doodling. Sometimes it’s framed, sometimes it acts like a storyboard panel, sometimes it’s more of a sketch of an item or a piece of an environment. He’ll do literally hundreds and hundreds of those throughout the course of pre-production. Very often off-the-cuff, and they’re beautiful. You absolutely get the sense of what he’s after, and how he draws them is brilliant.” Inglis is not the only one amazed by the artistic talent displayed by the former graduate of the Royal College of Art in London; Ashton Gordon who was the Production Designer for Legend (1985) once told him “that Ridley Scott is one of the only people he knows who can draw upside down.”
Working with Ridley Scott on Prometheus are two key collaborators, Production Designer Arthur Max (Se7en) and Cinematographer Dariusz Wolksi (Dark City). “I think with Ridley and Arthur they’ve been working together for 25 years, through commercials and then through feature films. There is an absolute trust there,” observes Paul Inglis. “Dariusz fits in so well with Ridley and the way Ridley wanted to shoot this film.” The cinematographer and the production designer were collaborative not only with Ridley Scott but also with each other. “Arthur and Dariusz discussed quite a few aspects of the set before they filmed but even so discussions aren’t the same as doing something on both sides. Sometimes you can find even heavily discussed sets ending up looking very poor; the execution of either or both sides may not be exactly what they both had in mind when they were discussing. These guys are connected and it works in their relationship. The evidence is on the screen.”
Honouring his confidentially agreement with 20th Century-Fox, Paul Inglis chooses his words carefully when discussing specific details regarding the highly anticipated picture scheduled to be released in June 2012. “What I can tell you is that it is going to look fantastic. With Ridley Scott returning to science fiction I think it will be worth the wait. With the amount of anticipation there is amongst fans, I wouldn’t want anything spoiled by me. I think it’s more interesting to go in not knowing anything and letting whatever story there might be unfold around you in the way they would have done for Alien [1979] and Blade Runner [1982] the first time around.” Inglis confirms that Prometheus was shot in 3D. “It will have its share of spectacular imagery, exciting action, [and] wonderful storytelling.”
Jeg er slet ikke i tvivl om at billedsiden af filmen bliver helt fænomenal. Jeg sagde præcist 2 sekunder efter at rulleteksterne på Avatar var startet, at jeg glædede mig til at se hvad den teknologi kunne bruges til i netop Ridley Scotts hænder. Nu får jeg det at se! :) 3d er godt til at lave store flotte omgivelser, men jeg er helt sikker på at det er endnu bedre til at lave små trykkende rum. Og endnu bedre, for første gang får vi måske lov til at se 3d shots uden CGI! :)
Der hvor jeg frygter det mest kan gå galt med denne film, er på lydsiden. Alien havde den måske bedste soundwork nogensinde. Den karakteristiske hylende vind, computerne de klikkede løs som var de mekaniske og selvfølgelig det mest skræmmende soundtrack til dato. Hvor svært får Scott ved at lave en sådan lydside i dag? Vil Fox ikke prøve at trumfe en bombastisk THX bulder og brag ned over filmen? Kan det overhovedet lade sig gøre at lave en lydstemning som i Alien i dag?
Ikke desto mindre glæder jeg mig som aldrig før, til dette kommende mesterværk :)
#21 Bony 13 år siden
#22 Batsy 13 år siden
=P
#23 Bruce 13 år siden
#24 Bony 13 år siden
Jeg forstår dig dog godt. ;)
#25 duuk74 13 år siden
#26 Highland Park 13 år siden
I traditionel forstand er "pjorten" ikke et rigtigt ord, uanset hvor godt den ligger i munden.
#27 Bruce 13 år siden
One of the diverse projects turned out to be a much anticipated movie shrouded with secrecy. “UK producer Mark Huffam, who was on Game of Thrones, moved on to Prometheus [2012],” explains Paul Inglis as to how he became involved in the science fiction tale helmed by the man responsible for Thelma and Louise (1991) and Gladiator (2000). “Ridley Scott has a lot of ideas he throws into the mix; his mind is incredibly energetic, he is very good at clearly describing what he wants and why he wants it. At the same time he’s happy for people to bring ideas to him, to integrate them into what he’s already doing. He is by no means set in his ways; he is more collaborative than you might expect. But at the same time he brings such a wealth of good ideas to the table that it can look a bit like a one-man show.” As to how one devises an imaginary world, Inglis states, “If it’s something quite futuristic science fiction like Prometheus, the Alien prequel, we have concept artists working in conjunction with the Director and the [Production] Designer creating looks for spaceships and environments, whatever they may be. From that we will add our layer of authenticity because some concept art can be quite esoteric and impressionistic, or sometimes it can be more complex than it is possible for us to make no matter what the budget.”
Questioned about what a Ridleygram is, Paul Inglis answers that Ridley Scott “at every meeting will call for a sheet of paper and a thickish 5-point pen and he’ll start doodling. Sometimes it’s framed, sometimes it acts like a storyboard panel, sometimes it’s more of a sketch of an item or a piece of an environment. He’ll do literally hundreds and hundreds of those throughout the course of pre-production. Very often off-the-cuff, and they’re beautiful. You absolutely get the sense of what he’s after, and how he draws them is brilliant.” Inglis is not the only one amazed by the artistic talent displayed by the former graduate of the Royal College of Art in London; Ashton Gordon who was the Production Designer for Legend (1985) once told him “that Ridley Scott is one of the only people he knows who can draw upside down.”
Working with Ridley Scott on Prometheus are two key collaborators, Production Designer Arthur Max (Se7en) and Cinematographer Dariusz Wolksi (Dark City). “I think with Ridley and Arthur they’ve been working together for 25 years, through commercials and then through feature films. There is an absolute trust there,” observes Paul Inglis. “Dariusz fits in so well with Ridley and the way Ridley wanted to shoot this film.” The cinematographer and the production designer were collaborative not only with Ridley Scott but also with each other. “Arthur and Dariusz discussed quite a few aspects of the set before they filmed but even so discussions aren’t the same as doing something on both sides. Sometimes you can find even heavily discussed sets ending up looking very poor; the execution of either or both sides may not be exactly what they both had in mind when they were discussing. These guys are connected and it works in their relationship. The evidence is on the screen.”
Honouring his confidentially agreement with 20th Century-Fox, Paul Inglis chooses his words carefully when discussing specific details regarding the highly anticipated picture scheduled to be released in June 2012. “What I can tell you is that it is going to look fantastic. With Ridley Scott returning to science fiction I think it will be worth the wait. With the amount of anticipation there is amongst fans, I wouldn’t want anything spoiled by me. I think it’s more interesting to go in not knowing anything and letting whatever story there might be unfold around you in the way they would have done for Alien [1979] and Blade Runner [1982] the first time around.” Inglis confirms that Prometheus was shot in 3D. “It will have its share of spectacular imagery, exciting action, [and] wonderful storytelling.”
http://flickeringmyth.blogspot.com/2011/08/swords-...
#28 Moog 13 år siden
Han er mesteren!
Jeg er slet ikke i tvivl om at billedsiden af filmen bliver helt fænomenal. Jeg sagde præcist 2 sekunder efter at rulleteksterne på Avatar var startet, at jeg glædede mig til at se hvad den teknologi kunne bruges til i netop Ridley Scotts hænder. Nu får jeg det at se! :)
3d er godt til at lave store flotte omgivelser, men jeg er helt sikker på at det er endnu bedre til at lave små trykkende rum.
Og endnu bedre, for første gang får vi måske lov til at se 3d shots uden CGI! :)
Der hvor jeg frygter det mest kan gå galt med denne film, er på lydsiden. Alien havde den måske bedste soundwork nogensinde. Den karakteristiske hylende vind, computerne de klikkede løs som var de mekaniske og selvfølgelig det mest skræmmende soundtrack til dato.
Hvor svært får Scott ved at lave en sådan lydside i dag? Vil Fox ikke prøve at trumfe en bombastisk THX bulder og brag ned over filmen? Kan det overhovedet lade sig gøre at lave en lydstemning som i Alien i dag?
Ikke desto mindre glæder jeg mig som aldrig før, til dette kommende mesterværk :)
#29 Bobby Singer 13 år siden
Selvfølgelig kan man det. Ridley Scott stor nok betydning til at få sin vision trumfet igennem og dermed hyre de folk han vil have.
Det er jo ikke Nolan vi snakker om her, se der kan man snakke om tomme tønder [url= mest. ;)
#30 Moog 13 år siden