精灵鼠小弟 Stuart Little (1999)【完整台词】

And that gave a little bit more
sense of jeopardy to the things...

that are happening to Stuart
during the boat race.

One of the things you'll see
in all the Stuart shots here...

is that we applied a wind...

that ripples through his clothing
and on his fur.

We had to came up
with some specialised software...

to create this effect. It's very subtle,
but it's something you'd miss...

it if you didn't see the back
of his flap moving in the wind...

and the hair stirred by it.

You really see the wind here.

This is also a CG rope,
the sheet line that he bites.

Following our policy
that anything he touches...

would become...

Or if he had to interact with it,
becomes synthetic.

Even the wheel that he steers
on the boats...

whenever he's touching it,
those are all...

We did those in CG.

It was pretty exciting
shooting this boat race.

There were days... If the wind got above
15 miles per hour, we shut down...

because this huge silk that we had
also was a huge sail.

And it seemed somehow appropriate
to be sitting on the deck...

beneath all of this waving,
white material...

and shouting orders. It was great.

It was like being...
It was like being Horatio Hornblower.

On a couple of days, we had winds that
were in excess of 30 miles an hour...

and we actually had cables break...

and tore some of the silk,
which was quite exciting.

Because as soon as the wind
started to get above a certain height...

they'd shout the alarm
and everybody had to leave...

and move out
from underneath the sail.

When the sheet line snapped,
it would whip across the pond...

and if you were in the way
you wouldn't happy.

Little high, Little low!

There's another costume
for Stuart, the tuxedo.

This tuxedo was especially difficult...

because it's white
and it's pretty featureless...

and it can show actually
all the problems you have in cloth...

meaning, computer graphic cloth.

The simulator we use to create
the cloth dynamics...

actually can cause
a lot of strange artefacts.

Little weird what we call noise,
little pops in the cloth.

And usually when you had a plaid
pattern or colour on it, it would hide it.

In this case,
he had a white tuxedo.

Luckily, most of the shots
are from a distance.

But these took...

Some of these took two months
just to create cloth for.

What you have coming up
actually is an introduction...

of two more CG mice characters.

This is a great shot here.

The reveal of Stuart's fake parents.

We took everything we learned
about creating Stuart by himself...

and applied it
toward these two characters...

who are equally as difficult.

You'll notice her coat
actually has fur trim on it.

So not only do you have to deal
with the realistic fur of her head...

you have her coat too...

and the layers of cloth
that interact with each other.

The Reginald character
and the Camille character...

were more caricature,
I think, than Stuart.

They were a little bit broader,
more cartoon-like.

And I think one of the challenges
was to keep them...

in our real world,
and at the same time...

keep the charm that was designed
into their body shapes.

Of course, when you're animating
some of these characters...

the short arms and legs that
Reginald has, present a problem.

If he wants to fold his fingers on his
chest, his arms aren't long enough.

So in some cases, we actually
took the character's arms...

and stretched them during the shot.
So as he'd reach forward...

his arm would get longer
inside the sleeve.

Of course the sleeve
would have to go with it.

So in some cases the characters do
change their shape during the move.

In traditional animation...
Cell animation, 2-D animation...

it's pretty common
to adjust your character...

to be able do some action.

And even though
you can do that in the computer...

it became our convention
that Stuart and Reginald and Camille...

all still had to follow
some bounds of reality.

You really felt that they were real.
There are some shots earlier on...

where Stuart's face
may squash and stretch...

for performance enhancement.

We found it actually took you out
of the movie.

So you'll find less and less of it...

from here on out
for the rest of the picture.

He continues to appear real.

You may not realise it,
but I'm sure he does.

What's interesting here...

is actually we had to go back
and spend some time...

making Camille's eyelashes
appear the right way...

so that when she bats them,
they had the right effect.

We designed it first and then
when we started doing the shots...

Rob made a comment
that he didn't like the eyelashes.

We had to go back and fix those.

But Stuart lives here.

George, come on...

This shot that's coming up...

took, I think,
almost a year to finish.

This is a three-shot of...

first Stuart,
and then Reginald will come in.

It was an incredible amount
of integration and shadows...

and things just to make them
appear here.

The cloth simulation for this took
many, many, many months to do.

Plus, you can see how
long the shot was.

Hey, taxi!

What's a mouse have to do
to get a cab in this city?

Any given shot, from the time it began
to the time it completed, on average...

would be some place from
six to eight weeks, I believe.

And some of them
were more difficult than others.

So they didn't all take a year.

It usually involves several people.

You have an animator...

Actually, first the match-mover,
who created the camera.

Then the animator
would do his work.

After the animation was finished...

you'd have a cloth artist
create the cloth.

Then you'd have a lighting artist,
who then lights Stuart.

These shots coming...
The hardest ones to do were anytime...

where he's in the hand of an actor.

And they were especially difficult
to make sure it felt like...

he was actually sitting in the hand.

I love you too, Mom.

Those are the things that
become distracting to a viewer.

Stuart's performing here
and if you have artefacts...

that distract you
from the actual performance...

then you have a problem.

It's why they make actors look great.

They don't have flyaways
in their hair...

they don't have smudges
on their faces.

You expect everyone
in the movies to look perfect...

even if they're supposed
to be dirty.

In this case, the suitcase in
that shot was the real suitcase.

Since Stuart didn't touch it...

we didn't wanna waste our time
having to make it.

This one is CG...

but we had to make sure
it matched back to the real one...

that was in the previous shot.

Let's just make them go away.
We're bigger than they are.

We'll say, "Go, shoo."

In this sequence, originally
they weren't supposed to carry Stuart.

The idea was, Stuart would climb
down the steps by himself.

While blocking the motion,
it turned out it would take too long...

for Stuart to get down the stairs.

So we improvised
right on the set and decided that:

"Why don't we just carry Stuart.
Have Hugh carry Stuart in his hand."

And it makes the scene
all the more touching...

how they have to say goodbye
to him.

One of the difficulties
with the mouse...

is he's very short
and everybody else is tall.

So when you start
composing scenes...

you have to be very careful
about where you put him.

If you leave him on the floor...

and you start looking up passed him
to the adults, they seem distorted.

There's also an issue
of depth of field...

which is, when you focus
on something in the foreground...

like a book or your hand,
the things behind it go out of focus.

So if we focused the lens on Stuart,
who is in the foreground...

very small and very close,
the things behind him tended to be soft.

And that was a difficult conceit
to work with because the character...

so often was separate
and apart from the live actors.

Putting him in the hand was a means
of bringing him closer to their faces...

and allowing, well, more problems
than just depth of field...

but allowing us to keep them all
in sharp focus...

so we could watch performance
from one to the other.

There's actually a thing we did
later on, where we were shooting...

plates that had a foreground.
The ground...

would be out of focus in the front
and then be in sharp focus behind...

and we wanted to put Stuart
in foreground.

We came up with a thing called
"height of field."

So we'd soften the focus
of the character's feet...

where they came into contact
with the ground...

and then we would
sharpen him gradually...

over his length
to where his face was sharp...

in the centre at the end of the shot.

If you notice the cat,
there's a very small smile right here.

Now, you really had to
point that out, don't you?

It's to really show that he is...
Snowbell's behind this whole thing.

This is a great bridge shot.

I did this in New York as a
second-unit piece from a helicopter...

with a gyro-stabilised camera mount,
which was pretty exciting.

We actually
were landing the helicopter...

where there was
a police picnic going on.