Post by Wolfmarian on May 28, 2007 15:33:20 GMT 2
Andrew Li es el asistente del director artístico en la película. Un veterano de la ciencia ficción (trabajó en El núcleo, Las crónicas de Ridthingy y la última de los X-men.
Pongo las preguntas más interesantes de la entrevista, sin traducir (sorry no tengo tiempo....¿alguien querría?, muchas gracias de antemano).
--------------------------------------------------------------
AXP: Neither of you are strangers to science fiction and horror; what from your experience have you brought to the sets of AVP 2?
AL: I worked mainly on the sewer set and the predator spacecraft. Andrew drew from his experience in designing Dawn of the Dead to create the creepiness of the sewer set. We wanted to keep the sewer relatively small so that the aliens and predators would look very menacing and horrifyingly huge in the set. In fact, when the predator is standing in full costume, he is over 8 feet tall!!!
When we seen him wading through the sewer water hunting down the rogue aliens, he definitely looks VERY, VERY scary!!! For the spacecraft I built a physical model. Our very talented illustrator Rob Jensen had established the look that we wanted. We did not have a big budget for this set so we tried to put a lot of the money in the beautiful sculpted predator architecture of the ship and we used lots and lots of aluminum extrusions and pipes to fill in the rest of the set. In some ways, the detailing on the set is similar to what I did on the Virgil "earthship" on The Core. But we were careful to keep the design non-human like as well. I got a lot of inspiration from the creature and prop design work coming out of Amalgamated Dynamics Inc. We wanted to make the predator spacecraft organic and beautiful, but also very rugged and macho.
AXP: As the setting is unique to both the Alien and Predator franchises, what kind of influences did you draw from the previous installments?
AL: For the Predator, we got a glimpse of their starship at the ending of the last AVP when we see one of their own lying dead on a Predator altar bed. We take cues from that design and ramp it up for our version of the altar bed and the Predator spacecraft. We developed our own version of the Predator alphabet which is similar to the characters that have already been established.
AXP: This is the first film featuring the Alien creatures to be shot predominately on-location; was it a challenge to create new and convincing environments?
AL: What's unique about this Alien movie is that we finally see the Aliens invading somewhere that most people would be familiar with - small town U.S.A. In a sense, this puts the movie in the classic horror genre where some evil being is killing innocent people in places that were once considered safe. So by this measure, it was not difficult to create new and convincing settings. The Alien is an incredibly resilient character.
AXP: Atmospherically, which series of films would you say AVP 2 resembles more? Alien or Predator?
AL: AVP 2 brings the conflict between these two powerful tribes back to where we live. Only the Predator [franchise] has ever done that with Danny Glover fighting it out in L.A.
AXP: As the film is set in contemporary America, how much work was there when it came to props and costumes?
AL: I guess you're talking about the clothes that our human characters wore and what they used. Like everything else you see on the big screen, someone made a decision to put that there. The Strause brothers with our Oscar-winning costume designer Angus Strathie chose clothes for our teenage actors that were hip but not too stylish for a small town. The military wear is pretty well what you would expect. The main difference in our clothes is of course that some of them had to be rigged for our "chest-bursters" - those nasty baby Aliens that pop out of people's chests at the most inconvenient times. The Strause brothers wanted all of the military type props to be grounded in reality. So there were no sci-fi laser rifles or photon cannons or a Ripley-style transformer-like walker with huge claws.
AXP: What was involved in modifying existing locations?
AL: We work with what was written in the script, the storyboards and the intent of the Directors to add or delete from locations to make it look good on screen. We used A LOT of locations on this movie, so I won't go into details here to bore you. We shot in an old hospital for the mentally ill. Yes, an insane asylum, as they used to call it. It's been used a lot by many other productions. In fact, a movie was shooting there when we were scouting it! We took advantage of some of the modifications that had already been done by previous productions and extended the colours and details to other parts of the hospital corridors to suit our story.
AXP: Can you talk at all about any of the sets built in-studio?
AL: I can talk about it in general terms. We rebuilt part of the hospital that we shot on location on the stage because we had certain stunts and Alien effects that we wanted to create that weren't possible on the actual location. From a control POV, it is always better to shoot on the stage. We can make anything happen on the stage. I was responsible for drawing our other two major studio builds - a very cool and creepy sewer set with a continuous 3 foot deep pool of murky water and floaty bits and our Predator spaceship. The ship construction, under the watchful eye of our talented construction foreman Dale Menzies and construction coordinator John Beatty, looked like a huge wooden ark suspended high in the air when it was only in its raw framing stage. It looked very cool. I think our construction, painting and sculpting crew did an amazing job of creating a large spaceship that looked awesome, especially when you considered that it was done without a huge budget.
AXP: How extensive was the storyboard process?
AL: Most of the script was boarded. In fact, a lot of the more action oriented scenes were done in previs. It of course helped that the Brothers Strause ran a VFX house Hydraulx and had a very capable crew to previsualize many of the scenes for them. Storyboards and previs are absolutely invaluable in filming. Sure, there are changes made on the set when we're actually in production. But they always refer to the boards to make sure that they have all the shots so that they don't get stuck in the editing room without a vital shot.
Pongo las preguntas más interesantes de la entrevista, sin traducir (sorry no tengo tiempo....¿alguien querría?, muchas gracias de antemano).
--------------------------------------------------------------
AXP: Neither of you are strangers to science fiction and horror; what from your experience have you brought to the sets of AVP 2?
AL: I worked mainly on the sewer set and the predator spacecraft. Andrew drew from his experience in designing Dawn of the Dead to create the creepiness of the sewer set. We wanted to keep the sewer relatively small so that the aliens and predators would look very menacing and horrifyingly huge in the set. In fact, when the predator is standing in full costume, he is over 8 feet tall!!!
When we seen him wading through the sewer water hunting down the rogue aliens, he definitely looks VERY, VERY scary!!! For the spacecraft I built a physical model. Our very talented illustrator Rob Jensen had established the look that we wanted. We did not have a big budget for this set so we tried to put a lot of the money in the beautiful sculpted predator architecture of the ship and we used lots and lots of aluminum extrusions and pipes to fill in the rest of the set. In some ways, the detailing on the set is similar to what I did on the Virgil "earthship" on The Core. But we were careful to keep the design non-human like as well. I got a lot of inspiration from the creature and prop design work coming out of Amalgamated Dynamics Inc. We wanted to make the predator spacecraft organic and beautiful, but also very rugged and macho.
AXP: As the setting is unique to both the Alien and Predator franchises, what kind of influences did you draw from the previous installments?
AL: For the Predator, we got a glimpse of their starship at the ending of the last AVP when we see one of their own lying dead on a Predator altar bed. We take cues from that design and ramp it up for our version of the altar bed and the Predator spacecraft. We developed our own version of the Predator alphabet which is similar to the characters that have already been established.
AXP: This is the first film featuring the Alien creatures to be shot predominately on-location; was it a challenge to create new and convincing environments?
AL: What's unique about this Alien movie is that we finally see the Aliens invading somewhere that most people would be familiar with - small town U.S.A. In a sense, this puts the movie in the classic horror genre where some evil being is killing innocent people in places that were once considered safe. So by this measure, it was not difficult to create new and convincing settings. The Alien is an incredibly resilient character.
AXP: Atmospherically, which series of films would you say AVP 2 resembles more? Alien or Predator?
AL: AVP 2 brings the conflict between these two powerful tribes back to where we live. Only the Predator [franchise] has ever done that with Danny Glover fighting it out in L.A.
AXP: As the film is set in contemporary America, how much work was there when it came to props and costumes?
AL: I guess you're talking about the clothes that our human characters wore and what they used. Like everything else you see on the big screen, someone made a decision to put that there. The Strause brothers with our Oscar-winning costume designer Angus Strathie chose clothes for our teenage actors that were hip but not too stylish for a small town. The military wear is pretty well what you would expect. The main difference in our clothes is of course that some of them had to be rigged for our "chest-bursters" - those nasty baby Aliens that pop out of people's chests at the most inconvenient times. The Strause brothers wanted all of the military type props to be grounded in reality. So there were no sci-fi laser rifles or photon cannons or a Ripley-style transformer-like walker with huge claws.
AXP: What was involved in modifying existing locations?
AL: We work with what was written in the script, the storyboards and the intent of the Directors to add or delete from locations to make it look good on screen. We used A LOT of locations on this movie, so I won't go into details here to bore you. We shot in an old hospital for the mentally ill. Yes, an insane asylum, as they used to call it. It's been used a lot by many other productions. In fact, a movie was shooting there when we were scouting it! We took advantage of some of the modifications that had already been done by previous productions and extended the colours and details to other parts of the hospital corridors to suit our story.
AXP: Can you talk at all about any of the sets built in-studio?
AL: I can talk about it in general terms. We rebuilt part of the hospital that we shot on location on the stage because we had certain stunts and Alien effects that we wanted to create that weren't possible on the actual location. From a control POV, it is always better to shoot on the stage. We can make anything happen on the stage. I was responsible for drawing our other two major studio builds - a very cool and creepy sewer set with a continuous 3 foot deep pool of murky water and floaty bits and our Predator spaceship. The ship construction, under the watchful eye of our talented construction foreman Dale Menzies and construction coordinator John Beatty, looked like a huge wooden ark suspended high in the air when it was only in its raw framing stage. It looked very cool. I think our construction, painting and sculpting crew did an amazing job of creating a large spaceship that looked awesome, especially when you considered that it was done without a huge budget.
AXP: How extensive was the storyboard process?
AL: Most of the script was boarded. In fact, a lot of the more action oriented scenes were done in previs. It of course helped that the Brothers Strause ran a VFX house Hydraulx and had a very capable crew to previsualize many of the scenes for them. Storyboards and previs are absolutely invaluable in filming. Sure, there are changes made on the set when we're actually in production. But they always refer to the boards to make sure that they have all the shots so that they don't get stuck in the editing room without a vital shot.
,gracias muchachos yo no puedo parar de imaginarme como va a ser esta peli .
.
