精灵鼠小弟 Stuart Little (1999)【完整台词】

he's reacting to the shift of
people's... However he's being held.

That was Charlie's...

Charlie Clavadetscher was our
match-move maven, wasn't he?

Yes, he was our lead.
He's very good.

He has a... Basically, he has
an instinctive understanding...

of how to re-create a camera move.

Because there's no way...

Since we don't record
the camera moves...

since the gear is too cumbersome
and it slows photography...

we are, after the fact,
trying to re-create it.

Charlie's always skulking around
the stage, taking pictures.

They wonder who this guy is
who's in the background.

Basically what he's doing
is taking pictures...

so that he can re-create the set
in the computer in a very simple form...

to give us surfaces
upon which to put the character.

Or in the case of a hand,
he has to create a model of the hand...

and track the model of the hand
to the hand of the real actor...

so that Stuart has a place to
stand when he's being animated.

- That would be great.
- All of us together.

The whole family.

There were a lot of shots
in this movie.

And one of the things we had to do was
to keep track of all this information.

And I think that some of
the information storage systems...

Not storage systems, but some
of the information handling systems...

that our producer,
Michelle Murdocca, came up with...

were critical in allowing us
to complete this thing in time.

They're sort of the unsung heroes.
They keep the train on the tracks...

as we would want to go off the tracks,
if ever there were an opportunity.

Exactly. I mean,
talking about the work is one thing...

but the process...

the whole production machinery
we had to create...

to keep the quality of work level...

at the same level, so that at
the end we weren't rushing to finish...

100 shots in the last three weeks,
was an amazing task...

supervised by our producers.

Mainly Michelle, and the
digital producer, Lydia Bottegoni...

and Debbie Denise.

We even have an equivalent
of a digital production manager.

His name was Jody Echegaray,
and he basically kept us all on track.

Tinker Bell!
He called me Tinker Bell.

- You're a funny guy.
- Yeah, whatever.

Jeez, house cats.

Just a side issue,
one of the things about cats...

is if you take two cats
that aren't familiar with one another...

and point them at each other...

the last thing they want to do
is look at each other.

So you'll see in all of the scenes
where you see cats...

they tend to look anywhere
but at the other cats.

It takes an enormous amount of work
to get these cats to look at each other.

This is the boat race. There's an
interesting thing about this boat race.

There was a component...
This was the live-action material...

the thing that you're seeing here
with the kids inspecting the boats.

And that was done
on a stage at Columbia.

And in order to match this...

we went into a tank
at the Paramount lot.

It was... The tank was 125 by 100.

It had a huge backing behind it,
and we had to cover it...

because of the soft light
that we used on this stage, with a silk.

And the silk is basically a big piece
of rayon that's translucent...

much like the sail you see here.

As light passes through it,
it's diffused and soft.

We had one acre of silk
in the air on cables...

while we were photographing
this sequence.

And there's a transition point where
the set becomes the tank...

once the boats go under the bridge.

We actually had to make sure
these worlds matched.

I don't like that child.

All set to get under way.

This is interesting. This is another
costume change for Stuart.

He now has a sailor outfit...

which again, had to go through
these various approval stages.

One of the things you're gonna see,
Stuart interacts with a remote control.

Turns out, that in order to move a real
remote control in the way...

that the animated character would,
didn't seem practical.

So in fact, the remote control
that Stuart's carrying...

was generated
in the computer as well.

Actually, that was a general rule
of thumb. If Stuart touched a prop...

and had to interact with it,
we'd always make that prop...

a computer-graphic element,
since we can control the animation.

So Stuart could have the weight
and really feel like he was hefting it.

It added more problems for us...

because in addition to having to make
Stuart little...

you'd have to make the prop little.

And it didn't help in this case
that the actual remote control...

the real one actually looks
very synthetic. There's no detail.

It's all primary colours...

and intrinsically would look
somewhat artificial.

So it's hard for us to...
You know, we matched the real one...

but it ended up looking like
a synthetic element.

So we did a lot of things
to make it look dirtier.

Never stop trying. Okay?

Okay.

One of the things about the boats
in this sequence...

is that they didn't float
on top of the water.

These boats were controlled from
beneath the water on tracks.

Eric Allard did the mechanical effects
on the movie.

The boats themselves
were driven by cables...

and they ran on tracks, so they would
do exactly the same thing each time.

The foot that came down
and broke the remote...

was actually Rob Minkoff's foot.

He wanted to crush
the remote himself.

- I couldn't grip it.
- Nice going...

No pent-up hostility here.

There's Anton,
someone that you'll come to hate.

All boats on the starting line
immediately.

George, wait.

Oh, honey.
Everything will be all right.

It's always funny when you put extras
into scenes...

you have to watch for the ones
who look at the camera...

or act in extreme ways, and you end
up cutting the film around people...

who are doing a little too much
jumping and yelling.

Or stare straight into the lens.

There's some shots later where...

some of the people in the background
are doing some pretty funny things.

They're very enthusiastic
for this race.

I'll be right back.

George, you know what?

Just because
we can't be in the race...

doesn't mean our family outing
has to be ruined.

So we have a transition point
coming up here.

Once the boats
go under the bridge...

they go into the tank world, which
basically was the second unit material...

that was shot by John.

It was interesting...

because this is an opportunity
to do a sequence as a director.

One of the things that we did...

in order to make the sequence
more practical to do...

is we created the tank,
and the boats and the tracks...

in the computer
in a very simple form.

Much like the grey mouse.

And we went through
with the computer model...

positioned the camera
to determine where the boats were...

where the camera was going to go...

and what the backing would be.

And because we previewed the shots
in a simple form...

I was able to try lots and lots
of different combinations...

to get the sequence to work.

And because we knew before
we arrived at the tank...

what the shots were going to be...

it was easy for
the mechanical effects people...

to set the boats up
with the proper movement...

the proper speed
and proper position.

And for the grips, who are the guys
who handle the camera equipment...

to set the camera up
in the proper place.

My guess is, we were about one
quarter of the time...

that it would've taken
to do the work if we'd showed up...

with the boats and camera and said,
"What are we gonna do now?"

This whole sequence is very close
to what was previs'd in the computer.

It's a matched blue screen shot,
there's a matte painting behind them.

Central Park apartments.

The boats for the sequence
are actually two different sizes.

The Wasp and the Womrath,
which are the two featured boats...

were built at one-to-one,
which is basically a boat...

that's about 4 feet long
for the Womrath.

And then we built a version
that was 8 feet for the close-up work...

where we see wheels spinning,
sails moving...

or the two boats
crashing into one another.

It was interesting because even though
you know they're toy boats...

the larger scale model is built so
it would appear more realistic...

even though it really only
should be 4 feet long.

But you want all
the additional detail.

The original... One of the earlier ideas
for this boat sequence...

is actually... Stuart...

Basically becomes... This was gonna be
his vision of what the race would be.

Rather than the realistic representation,
it became a more fantasy-like...

battle with pirates
and things like that.

The version here
is a much more realistic...

more perilous adventure.

One of the conceits
was to stay at mouse level...

for the material involving the boat...

to sort of treat it as though
it were a full-size race...

and we were full-size cameramen.

Or that it was a mouse-size race
and we were mouse-size cameramen.

However you wanna approach it.

But to stay down on the water
to give scale to the boats.

And we also photographed the boats
at a high camera rate...

which results in what you
consider to be slow motion.

But that slow motion gave the sense
of scale to the boats.

So water moves more slowly,
has a little more weight.

The sails move a little more slowly.