and camera movements, and for the actors, group scenes.
我是说 对每个人都很有用
I mean, it’s very useful for everybody.
你在这儿看到的带绿幕的
What you see here in green
都要进行CGI处理 例如 在作品后期…
will be made in CGI, i.e. in post-production…
技术图纸以及草图
The technical drawings, and also the sketches,
始终由我们 即场景设计部门 提供
are always provided by us, that is, the Scenic Design Department.
因此 他们仍然拥有与真实相匹配的设计。
So that they still have a design that matches the real one.
草图阶段是我们工作中非常重要的部分
A very important part of our work is the sketching phase,
通常在开始时画草图
sketches are generally drawn at the beginning.
这与展现电影的外观有关
And it has to do with showing the film look,
我会说“电影礼服”
the “film dress”, I’d say.
因此 还有调色板 家具风格的选择
So the color palette, the choice of the style of the furniture.
实际上 我们对”这是一部怎样的电影”有着全局了解
We have the global picture of what the film is going to be, actually.
我不知道…
I had no idea…
如何– 当读剧本时 你有了提示
how to– You have a clue when reading the scripts,
但你忘记了有多少幕 有人必须做这项实际的工作
but you forget how many stages. And somebody has to do this actual work,
必须从一开始就绘画 太多画了
has to paint from the beginning. Lots of them.
它们不只是所有高清扫描件或照片
And they’re not just all HD scans or photographs.
太多画需要画出来
A lot of them have to be painted,
很早的时候就要打草图
and sketched from the very start.
我是场景画家 或者更像场景艺术家
I am a scene painter, or rather a scenic artist,
我的主要工作是绘画
and I mainly work on paintings
涉及电影摄影中有关装饰和画作的一切
and everything that is decoration and painting in cinematography.
尤其是古典时代过去时光的电影布景
Especially in films set in the old days, in classical eras.
因为我学过古代绘画
Because I studied ancient painting
因此 我知道技巧 风格
and so, knowing the techniques, knowing the styles,
我将我所学应用于电影摄影中
I then apply what I studied to cinematography.
可以是画作 可以是雕刻
It can be drawing, it can be engraving,
可以是油画 甚至可以是湿壁画
it can be an oil painting, or even a fresco.
当然，总是通过一种某种程度上
Always, of course, made with a technique
能联想出原始技术的技术做出来
which is somehow reminiscent of the original technique,
因为我们在谈论场景设计
because we’re talking about the scenic design.
我运用了我多年来一直在测试的方法
I apply the methods I’ve been testing over the years
来创造相同的视觉效果
to create the same visual impact
如同真实的湿壁画、真实的油画
a real fresco can have, or a real oil painting has.
因此 他在韦罗基奥的工作室
So, in the creation of the apprenticeship
作学徒期间
that he went through at Verrocchio’s studio,
所有与其共事的年轻艺术家
all of the young artists
都要通过新手培训班来学习
who he selected to be working with them went through a kind of boot camp
文艺复兴时期的绘画技巧和雕刻技巧
of Renaissance painting techniques and sculpting techniques
木炭绘画技术
and charcoal drawing techniques.
因此 他们全都知道
So that they all knew,
如何拿木炭笔
literally, how to hold a charcoal.
他们想要看到的 他们想要实现的
What they were trying to see, what they were trying to achieve,
他们想要达成的
what they were trying to make.
都要经历那个过程
And had to go through that process
这样他们的思维方式 行为方式才是真实的
so that the way they thought, the way they behaved was authentic.
然后 我也研究相貌
Then I also worked on the physiognomy,
既包括现代面部标准
so both the modern facial standards,
也包括文艺复兴时期画家的经典标准
and the classical standards of a Renaissance painter.
因为侧面像有…
Because profiles have a…
这样说吧 古典相貌有其自己的风格
Let’s say, classical physiognomy has its own style,
与希腊世界 古代世界有关
which is a little bit related to the Greek world, the ancient world,
与可以成为黄金分割面的一切有关
and so to everything that can be the golden ratio face.
因为 正是有了这些研究
So, thanks to these research studies,
我也尝试研究演员的脸
I try and work on actors’ faces as well,
这非常具有挑战性
and it’s rather challenging.
然后 我们的导演
Then, our director
我们的导演非常了解列奥纳多是一位艺术家
has a very thorough knowledge of Leonardo as an artist
我们正在努力使一切尽可能准确
and we’re trying to make everything as accurate as possible.
您需要让自己回到那个时代
You need to kind of take yourself back to that time
意识到光曾是什么样的
and realize what the light was like.
太阳还是那个太阳
The sun would have looked exactly the same as what it looks like now.
主要区别在于结构 服装
The main differences would have been the fabrics, the costume.
你知道建筑物结构
You know the fabric of the building.
迄今为止 我们的摄影师史蒂夫·劳斯与我
Our cinematographer, Steve Lawes, is someone I’ve worked with
已经合作过四、五部剧了
on four or five different shows now.
对这部剧 他是一个完美的摄影导演
And he is the perfect director of photography
因为他是用光在绘画
for a show like this because he paints with light.
我不知道如何处理 史蒂夫·劳斯看世界的方式
I don’t know how else to put it. And Steve Lawes sees the world
正是我想导演的方式
in the way I want to direct it.
在列奥纳多这部剧 我非常想做的一件事是
One of the things that I was very keen to do on Leonardo was to…
限制自己的用光方式
restrict myself in a way…
以15,16世纪光的存在方式
to the way the light would have been in the 15th, 16th century.
由此 我指的是
By that, I mean
日光 月光 烛光
daylight, moonlight, candlelight.
在列奥纳多这部剧
On a show like Leonardo,
或者在那个时期 只有
or in that period, there is only
这三种光
these types of light.
就如韦罗基奥
And very much like Verrocchio
谈论光的质量
talks about the quality of the light
光的阴影 光的颜色
and the shade of the light and the color of the light.
在列奥纳多这部剧
It’s a very similar process
这是一个非常相似的过程
for coming up with a plan for Leonardo.
在一幕美丽的场景中 韦罗基奥解释光的类型
In a beautiful scene, Verrocchio explains the types of light.
他说 世上有三种类型的光
He says: “There are three kinds of light in the world.”
第一种是直射光…
The first, is direct light…
来自窗户 或 蜡烛的火焰
from a window or a candle flame.
第二种
The second…
是散射光
is diffused light.
第三种光是什么呢?
What’s the third kind of light?
韦罗基奥回应说 “我一直试图找到第三种光 ”
Verrocchio replies: “I have always tried to find the third light,
“但我一直找不到 因为那是上帝之光”
“but I couldn’t find it because it is God’s light.”
丹和我还谈论过的另一件事是
One of the other things that Dan and I talked about
镜头的移♥动♥
was the movement of the camera.
我们有种感觉，如果让你自己回到
We kind of feel that if you put yourself back
1500年左右 那不会有…
in the 1500s, there weren’t–
你没有无人机
You didn’t have a drone.
您没有高楼可以俯瞰
You didn’t have a tall building to look down from.
因此，我们决定希望将透视保持在地面水平
So, we decided that we wanted to keep the perspective at ground level
以此方式拍摄场景
and shoot in that sense.
在服装 设计
And in the clothing and in the design,
色彩 纹理 材质等方面
and in the colors and the textures and the materials,
我们希望越真越好 只要我们能做出来
we want it to be as realistic as we can possibly make it.
我要感谢设计部门，因为他们做得很棒
I’d give credit to the design department because they did an amazing job,
还有服装部门以及头发和化妆
and the costume department and the hair and makeup,
所有其它部门
all those other departments.
我喜欢与我一起工作的一切
I can like what I get to work with.
很困难
And it is difficult,
因为每次我尝试调整风格，视觉部分…
because every time I try to adapt the style, a visual part…
让我这样说吧
Let me put it this way:
视觉表现明显不同
a visual perspective that clearly differentiates,
尽管是同一时代
despite being the same era,
这部剧来自我过去做过的素材
this series from the ones I did in the past.
也因为这是另一个故事
Also because it is another story.
那是因为 实际上
Then because, actually,
列奥纳多生活的历史时期
the historical period when Leonardo lived,
15世纪末 16世纪初
that is, the beginning of the 16th century, the end of the 15th century,
是一个非常特殊的时期
is a very particular period.
这是一个过渡时期
It is a transitional period.
与往年相比
Like a void, a suspended void,
就像一个虚空 一个悬浮的虚空
compared to the previous years.
列奥纳多进入这个非常”昏暗”的区域
And Leonardo enters this very “dark” area
作为一个艺术家 一个学者
presenting himself as one of the artists, the scholars,
一个有史以来最好的通才
the best eclectic talents ever.
列奥纳多如何迁移令人惊讶，地理上的迁移
And it’s amazing how Leonardo’s movements, geographical movements
从一个城市到另一个 从一个客户到另一个
from one city to another, from one client to another,
从美第奇的宫廷 到 卢多♥维♥科·伊尔·莫洛的
from the Medici court, to Ludovico il Moro’s,
然后他去了法国 这些迁移以某种方式改变了他的本性
and then he went to France, somehow they changed his nature.
我的意思是 一开始他是一种人 然后他改变了
I mean, at the beginning he is one kind of man, then he changes.
这使我们可以表现这些改变