精灵鼠小弟 Stuart Little (1999)【完整台词】

The city had permitted the police
and the helicopter for the same spot.

Two guesses who ended up
keeping the spot.

We had to leave, obviously.

The police were very nice about it.
They said, "Nope, you're leaving."

This is the Stout world set.

Originally blue screen
and we put New York in.

If you look at that boat in the
background, that's the party boat.

You'll see that boat
in every one of these backgrounds.

It's always moving around.
It became a joke.

Yeah, that's Jerome's party boat.

The set itself was built on a stage.

It was a small stage
with a blue screen behind it.

And then the New York City
components were added in...

from plates we shot at the same time
we were doing that helicopter shoot.

I love this kid!

Your new bedroom, Stuart.

This is a sequence that I also had
the good fortune to be involved with.

And we built several different
scales of the castle.

The interior of the room,
as you see here...

was built about four times larger...

than it was when you saw it
from the miniature from the outside.

That allows us
to put all the details in the walls...

the wire, the texture
in the wood and the bed frame.

There goes the party boat.
He's pointing the party boat out.

- It's a big pullback...
- That was great shot.

With a matte painting of the
background. So this was on the stage.

The turret that Stuart's in
and the building behind him...

were on the stage.
Then all of the city beyond that...

was created as a matte painting.

Actually, Geena's gonna pick up
this small sailor outfit.

If you were really careful
in watching...

you'll notice that this outfit
doesn't have white stars on the back...

like the one that Stuart wore
for the actual boat race.

That's because she washed it.

We were constantly making
modifications to the costumes...

that Stuart wore...

as we went along creating the shots.
They had to be upgraded...

to handle new capabilities.

For instance, the costume
of the sailor suit had to have...

more flexibility for adding wind...

because we did the sequence
on the boats...

after we did the sequence...

where Stuart was walking around
the pond and talking to George.

And Jim Berney, who headed up
not only the cloth contingent...

the people responsible
for making the cloth work...

and continuing to modify it,
he was also responsible...

for supervising several
of the composites...

that were shots
that were basically assigned...

to his portion of the organisation.

Jim was constantly having to either
add texture or soften the cloth...

or change the colour or figure out
a new way to attach the white stars...

so that everything
remained together.

Oh, how horrible!

Cream of mushroom soup.
Two-for-one sale.

That's a very heavy soup.

More shots of the cat.

Well, he doesn't know.

Is that Prince? Is that the real cat?

Yeah, I think that is.

Won't he wonder where they went?

In the beginning it was hard.

It was very difficult for me
to tell the cats...

but after seeing them for a year...

instantly, you can tell
which ones were which.

Stuart's parents died...

in a tragic cream-mushroom-soup
incident years ago.

I just told you.

Dear, we have to take this up
with the police.

This is where they realise
Stuart's been kidnapped.

There was a great shot
that was in this sequence...

that's no longer in this sequence,
which was the mouse line-up.

Police line-up.

We had to take all of the mice
that we created for the movie...

and change their sizes and
characters, and put them in a line-up...

for the Littles to look at.

This sequence here...

we used... Centropolis Effects
worked on these cat shots...

using the same technique
as Rhythm & Hues.

Basically re-creating 3-D geometry
for the cats.

I'm not a street cat.
I'm a house cat.

They were done at different places.

We had to make sure the size
of the teeth matched...

from one facility to the other,
so that the C-Effects shots...

and the Rhythm & Hues shots
all matched together.

Usually you don't like to split
characters between facilities...

but we wanted to make sure
the work was interspersed in a way...

that we could finish it on time.

A little risky, but John and I had to
basically go from facility to facility...

to make sure that
the visual continuity matched.

This is where the mouse line-up was.

Yeah, the Littles went down to view
a collection of other mice...

that were basically presented
to them as possibilities.

They were wearing orange prison
outfits. It was pretty funny.

We basically took Reginald's model
and Stuart's model...

and just stretched them
and made them fatter...

and put them all
in orange prison outfits.

It didn't make it in the movie.

There's probably 20, 25 shots...

that didn't make it into the movie...

that'll end up
in a collection somewhere.

Kicks.

Exactly.

It's my guess these two sickos...

One of the things that happened...

is we were changing
the physiquing of Stuart...

and the man in charge
of physiquing the characters...

Scott Stokdyk, was called on,
on a regular basis...

to make adjustments to the character
to meet the animator's needs.

Sometimes he'd have to lengthen
the arm or shorten the leg.

And in this case he had to stretch
the character...

to make the tall character...
Already tall character much taller...

and make the short character
have longer arms.

And make the female character
into a male character.

- There's Camille in all her glory.
- These were great night shots of them.

Now this is the
Stout-world sequence.

And this sequence
is where Stuart is...

It's revealed to Stuart that in fact
these are not his real parents.

And one of the things I think
that's interesting about this...

is that we have three animated
characters on-screen at the same time.

All of which are continuously
interacting.

One of the things that's interesting is
the performances of the characters...

even the ones that aren't featured,
are continuous.

So you get the sense of life
of all three characters.

Often, when you have three characters
in animation...

the two characters that aren't
speaking or being featured...

will kind of fall dormant.

And I don't think that that happens
ever in this sequence.

Which is, to me...

It's a great show of Rob's art.

Yeah, this shot's good.

There's a lot disposition
shown in that shot.

Just having them off camera
with the dialogue.

Here we get to feature
the bedroom again.

One of the things you have to do, as
you do with characters in a real movie...

is create some contrasts.

If you do nothing but close-ups
or nothing but three-shots...

or you have the characters on-screen
all the time, they lose their lustre.

And I think that
by integrating shots...

where you're sort of left wanting
more, and then showing more...

you give the audience a little bit
more bang for their buck.

This sequence was particularly hard
to light in the computer.

We had to make sure
we have enough yellow light...

that was to the side of the castle...

then have the feeling
of the blue light from the moon...

and from the skyline
was affecting the characters.

These are all blue-screen shots
of the miniature set...

that John shot.

The big pan shot that's in there,
we actually went to New York...

and we shot individual plates looking
up, across, and down the river.

And those were "stitched together,"
quote-unquote, in the computer.

And we made the pan
that matched the foreground...

where the camera
went around Stuart...

on the background plate
after the fact.

We didn't shoot the pan...

when we were doing
the photography in New York.

Bye, fake father!

In all these cases, the car...
Stuart's car is real.

We would have to match it
and then place Stuart into the car.

Phil Notaro and the people...

at Imageworks Model Shop
put together that car.

It was really a beautiful car.

There were several versions of the car.
Some that went fast...

some that went very slowly.

Some that had articulate steering
and others were made for stunt work...

where they got crashed
and bashed.

There was a couple of versions
that didn't drive at all...

that included
an opening and closing door...

and one which had
the collapsing suspension...

that we used to show Stuart
getting in and out of the car.

We actually considered making the car
a computer graphic at one point...

but it actually became
too expensive an endeavour.

Which was a good thing...

because luckily
we only had an estimate...

for a certain number of shots
for the car.

And then that number went up,
and since we had the car available...

it was much easier just to shoot it.

Because there's no picture.
We need a picture of Stuart.

The family photo.

This is a case of
the animatronic inside the car...

- or maybe that was the stuffy?
- I think that was a stuffy.