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紐時賞析/電影「歡樂滿人間」 續集的特別挑戰

2019-01-31 09:07聯合報 莊蕙嘉

《愛.滿人間》結合真人與動畫的難度頗高。 圖/迪士尼提供
《愛.滿人間》結合真人與動畫的難度頗高。 圖/迪士尼提供
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Mary Poppins:The Peculiar Challenge of Animating Her World

歡樂滿人間續集的特別挑戰

“Mary Poppins” was the first film director Rob Marshall saw as a boy, so when Disney approached him about directing a sequel, the prospect was exciting — and intimidating.

電影「歡樂滿人間」是導演羅伯馬歇爾兒時所看的第一部電影,所以當迪士尼找上他執導續集時,這個可能性令人興奮,也令他備感壓力。

“It was daunting because the film means so much to me,” Marshall said in a recent interview. “But I felt, if anyone’s going to do a sequel, I would like it to be me, so I could protect the spirit of the first film.

馬歇爾在最近的一次訪問中說:「這挺嚇人,因為這部電影對我而言意義重大。但我覺得,如果要找個人來執導續集,我會希望那個人是我,如此我就可以保護原作的精神。

I asked myself what would I want to see in a sequel. I knew I’d want an animation/live-action sequence: It’s in the DNA of ‘Mary Poppins.’ And I felt it was vital to hold on to the classic hand-drawn animation from the first film.”

我自問想在續集看到什麼,我知道我想要一部動畫結合真人的續集,這存在於『歡樂滿人間』的DNA裡。此外我也覺得,要延續原作,堅持經典的手繪動畫至關重要。」

Although Marshall has won many awards for direction and choreography for feature films and television specials, he had never worked in animation. He built a team under the leadership of veteran Disney/Pixar writer Jim Capobianco. Working with a small group of artists in the Bay Area, Capobianco prepared preliminary storyboards for the sequence.

儘管馬歇爾曾以劇情長片和電視特輯贏得許多導演和舞蹈設計獎項,他從未做過動畫。他設立一個團隊,由迪士尼.皮克斯資深作家吉姆卡波畢安柯領導。卡波畢安柯和灣區的一小群藝術家合作,為續集準備了初步分鏡腳本。

He presented them to Marshall, writers David Magee and John DeLuca, composer Marc Shaiman and others in the Hyperion Bungalow, a relic of the 1930s Disney studio that had been moved to company’s Burbank headquarters. As everyone wanted to recapture the feeling of the original film, it felt right to begin planning the sequence using actual drawings rather than computer images.

他將分鏡腳本交給「海彼里安小屋」中的人,包括馬歇爾、作家大衛馬吉和約翰德盧卡、作曲家馬克夏曼及另一些人,這棟建築是複刻1930年代的迪士尼工作室,現已搬遷至該公司位於伯本克的總部。當每個人都想再次捕捉原作的感覺時,採用實際畫作而非電腦繪圖,對於開始規畫續集是正確之舉。

“We pulled together a storyboard — pinning sheets of paper onto corkboards, the old Disney way,” Capobianco said. “We met in the bungalow and pitched the boards using an umbrella as a pointer.

卡波畢安柯說:「我們合力架了個分鏡板-把紙張釘在軟木板上,老派迪士尼作法。我們在小屋開會,用雨傘當作雷射筆在板子上指來指去。

Rob would say, ‘I love that idea, but we need a little more time.’ Marc would get on the piano and rewrite the music; we’d redraw stuff and re-pin it. I felt as close as I could get to being with Walt and the Sherman Brothers making the original ‘Mary Poppins.'”

羅伯會說『我喜歡這個想法,不過我們需要再多一點點時間。』馬克會坐到鋼琴上重新譜曲,我們會重畫分鏡再釘上板子。我覺得我已盡可能的接近創造『歡樂滿人間』原作的華特和謝爾曼兄弟。」

Combining the media was a technique Walt Disney used when he first came to national prominence in the mid-1920s with his short “Alice” comedies, which placed a live-action little girl within an animated setting.

結合不同媒體是華特迪士尼曾使用的技術,那是1920年代中期,他因創作愛麗絲短篇喜劇而首度在全國嶄露頭角,片中在動畫場景內加入一個真人小女孩。

Although film technology has advanced enormously since then, the crew of the new film, “Mary Poppins Returns,” still faced problems integrating the media seamlessly.

雖然之後電影科技突飛猛進,新電影「愛.滿人間」的班底仍面臨如何無縫整合媒體的問題。

The animators strive to create convincing performances for their characters — who have to react to the live actors’ actions. For example, engineering a scene so an actor and an animated character touch requires almost microscopic precision: If anything is out of place, the drawn and live elements will seem to slide over each other, spoiling the illusion that they’re sharing a space.

動畫師努力為必須對真人行動作出反應的角色打造具說服力的演出,舉例來說,在精心規畫的一個場景中,一名演員和一個動畫角色彼此觸碰,這需要近乎顯微級的精確性:如果任何一項未到位,動畫和真人看起來會像是滑過彼此,毀了他們處於同一空間的幻覺。

文/Charles Solomon 譯/莊蕙嘉

動畫電影迪士尼紐約時報

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