精灵鼠小弟 Stuart Little (1999)【完整台词】

And as a result we had to adjust
all our colour and contrast correction...

in the scenes that we had finished
at the beginning of the film...

which was no mean feat.

It involved a huge amount of time,
and if you watch this sequence...

you'll see there's a fair amount
of detail in the blacks...

in the dark shadow areas.

And we had to go back in and make
adjustments to those shadow areas...

from the original photography
so they'd show up in our new print.

Who knows CPR?

Yeah, this is a new sequence,
a new ending for the film...

that was devised and had
a much more dramatic ending...

but involved having to figure out...

how to get these cats
up into the trees, basically.

So the tree was designed
with certain little footrests...

and areas that would enable
the cats to be allowed to run up...

as they rose higher
and higher into the tree.

The tree is composed
of two separate sections.

We have a lower part of the tree that
stops, then once we get higher up...

we'll find the upper half
of the tree. And then we...

John shot lots of blue-screen
elements of leaves and stuff...

that we could layer into the frame
to appear that we were in the trees...

looking through
a canopy of foliage...

to basically make us feel
we were within the tree.

What are you doing up there?

The talking cats in this sequence
were done by Rhythm & Hues.

In some cases we'd add highlights
in the eyes of the cats...

to give them a little more life,
give them a little more spark.

Nice going, house cat.

Just for that, when we carve up
the mouse, you get the big half.

Big half?

There's a convention that,
in terms of lighting...

Rob wanted it darker in the lower
part of the tree...

and as you got higher into the tree,
it would get brighter.

And also the idea that
through the leaves of the trees...

you'd be able to see
parts of Central Park around us...

and, actually,
that didn't show up as much.

You still feel like
you're up in the tree itself.

I'll break his fall with my mouth!

These shots were hard, having Stuart
inside the mouth, trying to integrate...

the fact that he was really hanging.
In certain cases that was a stuffy.

We had to take the stuffy out
and put in the CGI Stuart.

Go! Go!

Snowbell. Watch it.
Where are you going?

These cats are landing on
specific little areas...

that were built into the design
of the tree...

that could allow them to climb.

You saved me?

Yeah, yeah.

Look, let's get one thing straight.

It's one of the hardest things, something
we struggled with for the entire film...

was making sure
lighting continuity matched...

in terms of the direction of light
on the cat.

That it was the same
on Stuart and from shot to shot.

It had to feel like they were
all lit together.

And this is some of the most
expressive of the cat stuff.

The cat's called on
to respond emotionally...

and in large quantity too...

because it's all played with the cats
and Stuart. They're all doing...

They're acting here.

So this was a pretty intense
sequence...

for the people doing the animation
from Rhythm & Hues...

who did the animation of these cats.

And I think it's sort of
a tour de force...

of making cats have personality...

as far as the combination...

of their body language...

and the animation
of their expressions.

Getting the cat's
body language was really an issue...

of finding a means to put a camera...

where the cat would do
what you wanted, as opposed to...

having the cat come to the camera.
Often the camera had to go the cat.

But as a result, we ended up
with head moves...

body moves and body language...

that seemed to fit the emotion
of the scene.

It was really an interesting thing
to figure out...

thinking on your feet
while shooting these cats.

Because what you had to do was
redesign the scene in some cases...

dependent upon
the cat's performance.

So if it called for a single
or a two-shot...

at the beginning of the sequence...

and you happen to get a three-shot
or a good profile of the cat...

then you had to go through
and redesign the sequence on the fly...

while you were shooting
to incorporate that good shot you got.

Because the shots of the cats
performing emotionally...

were few and far between.

Here we have Stuart
making his escape.

That's actually a real...

It's a practical cat collar
that he's sliding down.

We actually attached Stuart onto it.

A lot of the cat stuff, you turn
the camera on and let the magazine...

roll through it.

Thousands of feet of it.
Credit the editor, Tom Finn...

with finding the little pieces
of performance...

to really make the body action work.

Then Rhythm & Hues
would then make the mouth talk...

and do the facial animation.

But just finding that small moment
that worked...

was a really challenging job
for the editor.

Here are some cases
where we add blue-screen leaves...

over the tops of certain shots
to make it feel like the canopy.

Coming up is one of the cat's most
favourite moments in the picture...

where they ended up
going into the drink.

And it turns out, obviously...

that although the cats
were in the water and swam out...

they didn't do the fall.

And what we had was,
we had stuffed cats...

which were quite rigid
as they fell...

and we went back and took their legs
and added animation to the legs...

to bring life to the cats
that were falling away from camera...

which you'll see here in a minute.

Take what?

It's a short shot...

but we actually had to go
and give them some movement.

Not your old buddy.

Don't worry, buddy.
I'm sure you'll land...

- on your...
- Snow, what are you doing?

This was cool, getting the cat to step
on this branch that would give away.

There are those stuffy cats.
No cats were hurt.

No cats were even offended
in the making of this film.

Except perhaps that cat.

They didn't like the water much.
They were willing to do it.

In fact, most of them did it more
than once without too much complaint.

All we've meant to each other?

I mean, I love that guy!

Hey, you guys! Wait up for me!

Pack up the pineapple, Stuart.
This luau's over.

Thanks, Snowbell. You were great.

Well, it must have been...

What's coming up here is there will
be a shot of Stuart holding a branch.

And we had to go in and create...

a computer-graphic branch
for him to hold.

The branch that hits Smokey
in the face is a blue-screen branch.

We shot a puff of air at the cat
to make it look like he was hit...

in the face...

but the branch didn't hit him.
It was a digital composite.

His name is Snowbell.

This is a cat dropped
into blue screen, basically.

And then we had to composite him
into a plate that John shot...

where they dropped weights
into the water to make the splash.

Look how little he gets
when he gets wet.

That's not the same cat though,
is it?

No, it's not, but still,
he was a fluffy cat to start out with.

Both of them got...
They didn't have much body mass.

They were mostly fur.

Little hey, Little ho.

This next shot is pretty tough.
This is Stuart actually riding the cat.

The harder shots are when he goes
through many different light changes...

because you have to animate
values of light.

This is interesting.
This is a blue-screen shot.

The cat and the mouse
were shot on a blue screen...

and they put into a plate of the house
that had no cat or mouse in it.

Yeah, they wanted to save money
and not do any Stuart shots...

so they tied a puppet
to the cat and then we shot it.

Here we have Stuart
arriving at home.

These digital composites
are blue screen, basically.

The area behind Stuart
in Central Park was one plate.

The foreground window was another.
We had to go back...

and put what we call "schmutz"
on the window...

all the dirt on the window
over Stuart to make it appear...

that there is still glass
between us and Stuart.

And subtle reflection of the room,
from the inside on the glass.

Stuart!

Lighting this was fun
because we wanted to play up...

the warm firelight that came in from
the inside of the living room onto him...

so we'd have a warm, happy ending.

And Snowbell.

I just couldn't have done it
without him.

Really?

These close-ups of Stuart
are quite nice.

You can really feel the fur
on his face.

At the end of a fairy tale.

Yeah.

Exactly.

And then this last shot,
another Stuart-in-the-hand shot.

This sequence ended up...

Before, we had a version of this
where we rose up above the house...

and went out over the city
of New York, and it got simplified.

To this. Which I think
probably is appropriate...

because the picture is now over.

Seems to make sense.