I met with the president of the city.
我给他看了我们的计划
I showed him what we were trying to do
他说 作为一座城市
and he said, well, as a city,
我们愿意支持这个项目
we would like to support this production.
对电影来说 这是一个非常重要的时刻
And it was a really important moment for the film.
弗罗茨瓦夫2016年欧洲文化之都
我们开始四处找在弗罗茨瓦夫
We started looking around for work
可以做的工作
that we could do in Wroclaw.
我们合伙成立了CETA
We partnered up a CETA,
也就是视听技术中心
which is Centrum Technologii Audiowizualnych.
他们有一个漂亮的蓝幕拍摄场地
They have a beautiful facility for shooting on a blue screen,
他们还有视觉特效设备
and they also had VFX facilities
所以他们可以用特效设备承担部分工作
so they could take on part of the work with VFX,
我们也可以在他们的设施里
and we could also do the Polish shoot
拍摄波兰部分
at their facilities.
饰演”梵高”
罗伯特·古拉奇克
整件事情是这样的 我收到了短♥信♥
考虑到我的英语水平
所以我回信说我不是最佳人选
当然我可以交流 但不足以胜任这份工作
之后有三周到一个月左右没有音讯
然后我接到了公♥司♥的电♥话♥
实际上是制片人看了我的照片
他们喜欢我 问我第二天能不能
去面谈
我去了 我们谈了一会
我就这样选上了梵高一角
CETA试镜 2014 7月
对我们来说这是个非常重要的时刻
And it was a really important time for us
因为这使得我们
because it allowed us
在和波兰电影协会
before we had finalized
最终敲定之前
with the Polish Film Institute,
就筹集到了资金
it allowed us to get the funding
也就是说我们可以先开始拍摄
which meant that we could shoot the first
前期的镜头
shots from the film.
比如海报上文森特转过身来
For example, the famous shot that’s on the poster
那著名的一幕
of Vincent turning around,
那是在我们和弗罗茨瓦夫市
that was actually shot right after we closed the financing
刚结束融♥资♥后拍的
with the city of Wroclaw.
其实那只是一次试镜
It was actually just a test shot
罗伯特·古拉兹克 那个演员
both for Robert Gulaczyk, the actor,
和安娜·克鲁萨的试镜 结果却成了
and for Anna Kluza, and it turned out to be
在我看来这部电影中最具代表性的一幕
the most iconic shot of the film, I think.
把文森特的画搬上银幕的
One of our main challenges in bringing Vincent’s painting
主要挑战之一是
to the cinema screen
文森特用了很多不同尺寸的画布
was the fact that Vincent used many different canvas sizes
那是他作为艺术家
and that was part of his choice as an artist
考虑到构图的选择
in terms of the composition,
而电影院只能用一种尺寸
whereas for cinema we could only use one size.
这意味着我们必须对画面进行增减
This meant that we had to add or subtract
或者用某种动态效果遮住画面
or cover the painting through some kind of movement.
一开始
And in the beginning,
我们全程采用16比9的画幅
we did the whole film 16 by nine,
16:9标准高清电影格式
这是标准的高清格式
which is the standard HD format.
这给我们带来了很多麻烦
And it was causing us a lot of problems
因为事实上文森特的大部分画
because actually most of Vincent’s paintings
都是30码的画布
was a size 30 canvas,
是更接近正方形的尺寸
which is more a square format.
所以每一幅画我们都
So for every single painting almost
16:9标准高清电影
不得不补全这些两侧黑边
we were having to invent these side bars
改变构图
and change the composition.
电影摄影师
然后卢卡斯·扎尔 我们的电影摄影师
And then Lukasz Zal, our cinematographer,
他走过来对我们说
came along to us and he said,
16:9标准高清电影
1.37:1学院比例
即1.375:1 是35mm有声电影的标准画幅比例
那为什么不用学院比例呢
well why don’t you just shoot at academy
那样你就不用
and then you don’t have to
改动文森特·梵高的天才画面
second guess the genius of Vincent Van Gogh.
我们被第一家发行公♥司♥拒绝了
And we were sacked by our first sales agent company
因为我们决定
because we made the decision
采用学院比例
to go with the academy format.
但我宁愿反对发行商
But I would rather go against the sales agent
也不愿去改变文森特·梵高
then go against the compositional choices
原始16:9关键帧
学院比例终稿
原始16:9关键帧
学院比例终稿
在构图上的选择
of Vincent Van Gogh.
我们开始和卢卡斯合作
We started working with Lukasz.
我们邀请他来我们的工作室
We invited him to our studio
一步一步 一个镜头一个镜头地拍摄
to go through it step by step, shot by shot.
那时候我们必须
That’s when we had to have the very
非常详细地讨论
detailed conversations of actually how
我们究竟该如何将2D媒体
we were going to translate this 2D medium
转换为真人实景参考素材
into a live action reference shoot,
然后再转换回到2D的绘画媒体中
which would then have to go back into the 2D medium of painting.
我们当时的情况是这样的
So we’d got to this point.
工作室的四分之一
We had filled up a quarter of our studio
由20位画师占据
with 20 painting animators.
我们大概筹到了三分之一的资金
We had raised I think around a third of the money.
我们离推动进度
We were still a long way off
以及非常自信能够完成这部电影
being able to go ahead and know that we can make this film
还有很长的路要走
and finish this film.
我们当时计划先拍摄电影的
We made the decision to actually go and shoot
三分之一
a third of the film
第1场 第32镜 唐吉老爹的店
然后再将这三分之一的部分做成动画
and to do the painting animation of a third of the film.
我们决定先录
We decided to record
电影中主要角色之一唐吉老爹的戏份
one of our main characters Pere Tanguy,
主要是因为 就算我们后期打算
mainly because his role in the film wouldn’t change,
更改电影剧本的其他部分
even if we were going to change
他在电影中的角色也不会发生改动
other parts of the script later on.
也因为我们需要一些绘制好的成品
And because we needed to have some painted material
来说服人们加入我们 并给电影投资
to persuade people to join us and finance the film.
这是一个很大胆的决定
This was really a decision
成败在此一举
that would either make or break the production.
其结果不仅可能会导致
We swam in a direction which could potentially
公♥司♥破产
not only bankrupt the company
毁掉我们作为电影制片人的声誉
and destroy our reputations as film makers,
而且会使我们日后不大有可能再
but also make it unlikely that we’d make another film
制♥作♥电影了
in the future.
那是个艰难的抉择
It was a tough decision to make.
因为当时留给我们的选择并不多
There weren’t so many options then
所以我们决定放手一搏
and so we took the plunge and we decided to
2014年12月
弗罗茨瓦夫片场
CETA工作室
先把在弗罗茨瓦夫的镜头拍了
go ahead and do the Wroclaw shoot.
弗罗茨瓦夫这部分的镜头对我来说挺困难的
Wroclaw was quite difficult for me.
多洛塔·科别拉
这是我第一次在大♥片♥场里拍摄
It was my first shoot on a big set
确实是一个很好的学习经历
and it was a real learning experience
也是个全新的环境
and a very new situation.
这是我第一次在波兰
I was a first-time director
且主要人员为男性的片场里当导演
on a Polish, male-dominated set,
而且我认为员工都在怀疑
and I think the crew was quite skeptical
呈现出来的效果怎样
about how it would all turn out.
我们一直都很清楚
We always had that hanging over us
我们知道先拍摄一部分电影
that we knew that we had taken a big risk
这样做很冒险
in going ahead and making parts of the film
因为我们没有谈好的发行商
when we had no commitment of distribution,
没有可靠的资金来源
we had no commitment of funding
来支付整个预算
that covered the entire budget.
这个项目最吸引人的一点就是
The most attractive thing about this project
它不是一个商业化的项目
is it’s not a commercial project.
约翰·塞森斯
饰演”唐吉老爹”
不是那种耗资巨大的制♥作♥
It’s not a big bucks project.
不是《哈利·波特》
It’s not Harry Potter.
也不是迪士尼电影什么的
It’s not Disney film or whatever.
这是一部用爱筑成的
