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答案都在这里！
Introduction:
During the fourteen months of preproduction on Star Wars: Episode III Revenge of the Sith, from April 2002 to June 2003, George Lucas would walk up the stairs to the Skywalker Ranch art department every Friday morining. The purpose of these visits was to approve concept art based on the previous week's assignments and to provide material for the following weeks. Lucas might say he needed an asteroid planet, a lizard-like mount, costumes for a love scene, or a new battle cruiser. It would then be up to the concept would eventually be made into actual sets, props, clothes, and vehicles, either pratical or computer-generated.
Because Lucas was also writing the script during this period, the fasciniating aspect of his weekly interactions with the art department was the continuous exchange of ideas. Although he had much of the story already plotted out, the artists - Church, Tiemens, Robert E. Barnes, Warren Fu, Alexander Jaeger, Sang Jun Lee, Michael Murnane, Derek Thompson, Feng Zhu, and others - were often coming up with their own story possibilities: giant windmills on Utapau, a dragonfly-steed for Yoda, or an upside-down world. Not only were they boucing off Lucas's script ideas, they were branstorming and inspiring each other.
As I was researching two books on Episode III, I regularly attended these meetings - and each time I was astounded by the group's artistry, imaginings, and productivity. As Eric said: "it was astounded a gallery opening every Friday." Indeed, the artists produced over 4,000 paintings, sketches, and storyboards during preproduction, and each one of these contained dozens of ideas. To create so much so quickly, they completely immersed themselves not only in the design ethos of the saga, but in the character of the players, vehicles, planets, and species. They also worked long hours, often sleeping in the art department; it was almost a form of method-acting - and it resulted in the creation of General Grievous; the planets Felucia, Polis Massa, and Mustafar; the P-38 starfighter, a flying Wookiee catamaran, and on and on.
Yet for each concept that made it into the movie, many did not. Occasionally Lucas would say that an idea was really interesting, but not for his movie. This process is inevitable. Nevertheless, it seemed a shame not to give a voice to those artists who had perhaps more to say - to those who had become initiates in an arcane if popular artform. An obvious solution was to create a medium for this group to tell their own Star Wars stories. Fortunately Dark Horse agreed, Jeremy Barlow signed on as editor, and the result is Star Wars: Visionaries - intimate views by some of the key creators of a galaxy far far way....
- J.W. Rinzler
(Author of The Art of and The Making of Episode III: Revenge of the Sith)
Skywalker Ranch, March 2005. |
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楼主: 星球大战论坛
发表于 2012-3-11 23:22
发表于 2012-3-11 23:24
发表于 2012-3-12 00:37
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