ASC摄影专题： 马路野狼——《落日车神》
2011-12-02 01:00
译者：KTV
Road Warrior ——Jon D. Witmer
It’s day 11 on the shooting schedule for Drive, the first Hollywood movie from Danish director Nicolas Winding Refn, who made his name on the international stage with such projects as the Pusher trilogy, Bronson (AC Oct. ’09) and Valhalla Rising. Refn has invited AC to the set, built on the fourth floor of Los Angeles’ Park Plaza Hotel. With a blanket wrapped snugly around his waist, the director leads the way down a faux-brick hallway that opens into a room featuring four mirrored walls outlined with vanity bulbs — the dressing room of a club. It’s time, Refn says, “to place the girls.”
以《末路狂奔》三部曲、《布朗森传奇》（AC 09年10月刊）和《日出英烈祠》等片迈上国际舞台的丹麦导演尼古丁（Nicolas Winding Refn）执导了他的首部好莱坞影片《落日车神》，拍摄进入第11天，他邀请小编来到搭建在洛杉矶公园广场酒店四楼的片场探班。腰间束着一条床单的导演引着我们穿过一条人工砖（faux-brick）走廊来到一个房间，房间四面都是玻璃墙，玻璃的边框挂满了节能灯（vanity blub）——这是个舞女的化妆间。时辰一到，尼古丁就发话了，“让妹子们进来。”
Based on the crime novel by James Sallis, Drive revolves around the unnamed Driver (Ryan Gosling), who spends his days as a Hollywood stunt driver and his nights behind the wheel of getaway cars for members of the Los Angeles underworld. In order to protect his neighbor, Irene (Carey Mulligan), he agrees to help her ex-con husband, Standard (Oscar Isaac), pull off an easy heist. But when the job goes horribly wrong, Driver has to cut a bloody swath to guide Irene to safety.
（剧情梗概）本片取材自James Sallis的同名小说，讲述了无名车手段金发（Driver）为了帮助暗恋的伊人（Irene）摆脱黑帮纠缠，答应为其刚出狱的老公史模范（Standard）做一票买卖，结果却遭黑手暗算，最终段金发只身勇斗群霸，终葆伊人母子平安的故事。
“It’s almost a mythological story, not a story about today or yesterday or tomorrow, so it was important that the movie have an almost indefinable time period,” says director of photography Newton Thomas Sigel, ASC. After Drive was in the can, Sigel spoke with AC by phone from the U.K., where he was shooting Jack the Giant Killer for Bryan Singer.
“这是个几近神话的故事，而不是一个关于今昔将来的现实故事，所以给影片一个不明确的时间区间十分重要。”摄影指导辛弩藤（Newton Thomas Sigel, ASC）如是说。《落日车神》摄制完成后，辛老师在英国与小编进行了一次越洋通话，当时他正在拍摄布莱恩•辛格的影片《杰克和巨人》（Jack the Giant Killer）。
Drive marks Sigel’s first collaboration with Refn, and the cinematographer ecalls that when he was approached about the project, “I took a look at Bronson and was really impressed. It was clearly a film with a limited budget and limited resources, but it had a very strong vision from the director.”
《落日车神》是辛老师与尼古丁的首次合作，这位摄影师回忆起了他接手这项计划前的情形，“我看了下《布朗森传奇》，觉得这片真的很吸引人。它明显就是一部在预算和条件有限的情形下，具有强烈的导演影像风格的影片。”
“I met with a lot of wonderful cinematographers — that’s the good thing about Hollywood, they’re all out here,” says Refn. “But when I met Tom, I really dug his energy, and his background as a documentary filmmaker made me confident we could make our seven-week shooting schedule work. Plus, his first film as a cameraman was Kenneth Anger’s Lucifer Rising!”
“我见过许多很出色的摄影师——这是好莱坞的一桩美事，他们都在那活动，”尼古丁说。“当我遇上辛老师，我才真正感受到他的能量，他的纪录片摄制背景使我更加坚信我们可以共同完成7周的摄制工作。此外，他的摄影处nv作是肯尼思•安格尔的影片《撒旦叛乱》！”
Refn often cites avant-garde filmmaker Anger as an influence. “The first visual reference I showed Ryan in regards to Drive was [Anger’s] Scorpio Rising,” he says. “Ryan asked, ‘Why are you showing me a movie with a lot of guys working on motorcycles?’ And I said, ‘It’s how it’s shot — the sensual, sexual nature of it, the fetish, the objectification. That’s what we should try to go for.’”
尼古丁经常将先锋电影人安格尔引为自己的一名影响者。“我头一次给高司令看的参考影像就是（安格尔的）《天蝎座升起》，”他说道。“高司令问我，’你为毛给我看一部都是飞车党的影片？’我答，‘他的拍摄方式——里面的声色（敏感）情欲、恋物和移情的感觉，正是我们要努力的方向。’”
In addition to Anger’s oeuvre, Refn and Sigel were inspired by the look of location-scout photos Sigel snapped using the Hipstamatic app on his iPhone. “There are some color palettes in that program that reference retro photographic looks, like Kodachrome or Ektrachrome,” says Sigel. “I showed Nicolas some of the photos, and he wasn’t certain of the strange tonalities,
but he really responded to the vibrancy of the colors. We designed a lot of sets and costumes to make use of that kind of vibrant palette.”
除安格尔的作品之外，尼古丁和辛老师也从后者用iphone Hispstamatic的app拍摄的一系列现场堪景的照片中得到了许多灵感。“这个程序里有些可以产生像Kodachrome和Ektrachrome一般的复古影像效果的独特色彩。”辛老师说，“我给尼古丁看了些这样的照片，而他对这种奇怪的影调未置可否，但他显然对这些明快的色彩印象深刻。我们在设很多场景和服装时就用了这类明快的色彩。”
Early in his month-long prep, Sigel decided to shoot with Arri’s Alexa digital camera. “We had a tight budget and very little time, and I was intrigued by the look I could get shooting available light downtown,” he explains. “I did some driving tests with the Alexa, and it blew me away in terms of what it could do with existing light.
在他长达一月之久的前期工作开始时，辛老师就打算用阿莱的Alexa数码摄影机拍摄。“我们的时间和预算都很有限，而且我被它这种现有拍摄条件下出来的影像效果给迷住了，”他解释道，“在市区可用照明条件下，我用Alexa做了一些车戏试拍，出来的效果直接把我秒杀了。”
“I rated the camera at 800 [ASA],” he continues. “I think the myth of digital is that you underexpose because it can’t hold the highlights like film. I find that when you underexpose digital more than a little bit, very often you increase your noise level significantly. What’s extraordinary about the Alexa is that even if I pushed the sensor to 1,600 [ASA] there was very little noise, and I could actually underexpose quite a bit without introducing noise in the blacks. The dynamic range was mind-boggling.”
“我把摄影机的感光度调到800[ASA]，”他接着说，“我觉得数码影像的诀窍在于你得做点欠曝，因为他不能像胶片一样hold住强光。我发现你让数码摄影机稍微欠曝一点，噪点就会明显增加。Alexa杰出之处就在于即便我把感光度调到1600，噪点依然极少，然后我就能稍微来点欠曝也不至于在影像暗部形成噪点。这个曝光宽容度让我叹为观止。”
The cinematographer adds that he typically shot nights and interiors around T2.8, and day exteriors around T8.
摄影师同时补充说他通常使用T 2.8左右的光圈拍摄夜景和内景，日景戏则用T8左右的光圈拍摄。
Clairmont Camera in North Hollywood provided the camera package. Sigel shot most of the picture using the 15-40mm Angenieux Optimo zoom lens. “I also used Cooke S4 primes for the daytime car interiors, and Zeiss Master Primes for the nighttime car interiors.”
位于北好莱坞的Clairmont Camera公司负责提供摄影机的全套设备。辛老师用15-40mm Angenieux Optimo伸缩变焦镜拍摄了影片的大部分镜头。“我也会用Cooke S4 定焦镜头拍摄白天的车内戏，然后用蔡司Master Prime定焦镜拍摄夜间的车内戏。”
He kept filtration to a minimum, although he occasionally employed a Tiffen Soft/FX filter (in either 1⁄2 or 1 density) for diffusion.
他将滤镜的使用降低到最小程度，尽管他有时会用Tiffen Soft/FX滤镜（1/2或者全密度）做柔焦效果。
“Nicolas really loves wide lenses, like the 18mm and 21mm,” says Sigel. “That’s a challenge when you’re trying to get a lot of work done in a short period of time. You tend to want to set up multiple cameras and have the telephoto lens pick off close-ups while you’re getting a two-shot, but we limited that approach as much as we could.
“尼古丁很喜欢广角镜头，比如18mm和21mm，”辛老师说。“想在短时间内完成这么多事情的确很有挑战性。当你拍摄双人镜头（two-shot）的时候，你既想摄制多机位又想拿长焦捕捉特写，但是想归想做归做，这样的制肘我们遇到的不是一个两个。”
“Whenever there was a fight or an act of violence, we’d get two cameras on it so we didn’t have to repeat that action over and over,” adds the cinematographer.
“只要有动作戏，我们就安排两台摄影机，这样我们就不用无休止地重拍，”摄影师补充说。
Sigel operated the A camera, and Greg Lundsgaard served as B-camera/Steadicam operator. “I’d worked with Greg before,” says Sigel. “He’s got a good eye, and I’m very confident in what he does.”
辛老师控制A机，龙哥尔（Greg Lundsgaard）操纵B机/斯坦尼康。“我和龙哥之前有过合作，”辛老师说。“他镜头捕捉感很好，我对他十分放心。”
By the time Sigel joined the production, it was a given that the entire shoot would happen in and around L.A. The Park Plaza Hotel became one of the production’s hubs. The location provided ample space to build the strip club’s dressing room, the design of which grew out of Sigel’s preproduction discussions with Refn and production designer Beth Mickle. Sigel recalls, “I mentioned that on Frankie & Alice, we created a dressing room that had tables at different angles, so when we shot we got layers and layers of detail in the mirrors. Nicolas took that idea one step further and said, ‘Let’s make it all mirrors.’ So we basically made a mirror box — it reminded me of a Lucas Samaras sculpture — and it was just lit with practical light.
辛老师加入剧组那会，他得知全片的拍摄工作都会在洛杉矶周边进行。公园广场酒店成了制作方的大本营。这个场地有很多宽敞的空间可供搭建脱×衣×dance化妆间的布景，布景的设计方案是辛老师在前期和尼古丁和美工师米贝斯（Beth Mickle）碰出来的。辛老师回忆说，“我当时提到了在《精分女强人》（Frankie & Alice）一片中用镜子营造了许多富于细节的影像层次。尼古丁采纳并深化了这个建议，说‘咱把现场都弄上玻璃。’所以我们基本上是做了一个玻璃盒子——这多少有点让我想起卢卡斯•沙马特(Lucas Samaras)的雕塑作品——而且照明全都用的是实景光源。（practical light）”
“We had one shot where we had to do a 360-degree camera move,” Sigel continues. To avoid seeing the camera’s reflection in the mirrors, “key grip Alex Klabukov created a rig from the ceiling that was almost like a helicopter blade — the camera sat on it and spun around above the actors, just barely out of shot.”
“有个镜头我们要做个360度的运动，”辛老师补充着。为了避免在玻璃中看到摄影机的倒影，“首席机工（key grip）Alex Klabukov临时造了个从天花板垂下来的像直升机螺旋桨翼一样的装置——摄影机安在上面就能在演员头上旋来转去了，摄影机刚好不在画内。”
As the crew prepares to shoot in the dressing room, Refn places the extras playing the strippers and gives them directions. In the scene, Driver enters the dressing room and takes a hammer to the hand of Cook (James Biberi), the club’s proprietor, and then throws him to the ground, demanding information about the heist that went bad. As the violence erupts, some of the strippers make a speedy exit, while others stay seated around the perimeter, waiting for the outburst to subside.
当剧组成员为化妆间的这场戏准备停当后，尼古丁就让那些扮演脱×衣×dancer的临时演员站好了位置，并给了她们一些指导。这场戏里，段金发来到化妆间，二话不说就给夜总会的经营者皮条裤（Cook, James Biberi扮演）的手来了一锤子，然后一把撂倒了这人，开始盘问关于那起搞砸的抢劫的风声。手起锤落后，好多脱×衣×妹子都仓皇出逃了，而另一些胆大的妹子却依旧围成圈站在原地，在暴风雨的宁静下静观其变。
For much of the scene, Sigel and Lundsgaard sit tucked in a corner of the set, rolling two cameras. Lundsgaard keeps his camera trained on Cook, Sigel follows Driver, and as the actors move through the frame, the bare bulbs positioned around the mirrored walls occasionally flare the lenses. “The globes were 40 or 60 watts, and they had a sort of mauve color,” says gaffer Anthony “Nako” Nakonechnyj, one of Sigel’s longtime collaborators. “We would turn off globes we didn’t see to increase the contrast, and we could dim them down if they were too bright or were flaring the lens.”
这场戏的多数时间里，辛老师和龙哥尔都蜷缩在场景的一个角落里，分别用自己的机器拍摄着。龙哥尔的机器专跟（train）皮条裤，辛老师的则跟着段金发走，而当演员们越过画框的时候，玻璃边框上的几个灯泡偶尔就会在镜头前留下眩光（flare）。“这些灯泡都是40-60瓦的，他们都带着一种淡紫色，”辛老师多年合作伙伴——灯光师那科（Anthony “Nako” Nakonechnyj）如是说。“我们会关掉那些看不见的灯泡来增加画面对比度，如果他们太亮了或者产生眩光了，我们也能把它们调暗。”
The Park Plaza also housed Driver’s and Irene’s apartments, which were designed to function like practical locations. A common corridor was constructed, and doors along the corridor opened into the actual apartment sets. Additionally, the set’s windows lined up with the Park Plaza’s real windows, providing a view of downtown L.A.
酒店还提供了段金发和伊人的住所（以供拍摄），剧组成员将其改造成看似实景的模样。他们造了一条公共走廊，走廊两边的门打开便是实际的公寓场景。除此以外，场景中的窗户都按照酒店的真窗户匹配安放，以便将洛杉矶城区的景致收入眼底。
Sigel recalls that the floor used for the apartments was “way up, beyond where you can reach with Condors for exterior lighting. The challenge was balancing the light inside in a quick and efficient way, and that’s where the Alexa was great. We had a lot of plans about how to gel the windows, but once we got in there, I didn’t need to use all of those tricks because the camera had more dynamic range than I expected.”
辛老师回忆说，公寓场景的地板都有些“太高了，站在上面你都能够得着用作外景照明的Condor灯了。（way up, beyond where you can reach with Condors for exterior lighting）头疼的是如何快速有效地平衡内景的光，这时候Alexa的优势就体现出来了。我们想了好多套方案来给窗户抹胶（gel the window），但我们一到现场就觉得这些伎俩都没必要用了，因为摄影机的曝光宽容度比我想象的要强很多。”
To supplement the practicals inside the apartments, the crew regularly employed Kino Flo 4\' two-bank fixtures fitted with K32 3,200°K tubes, as well as several varieties of small, homemade instruments that housed dimmable Photofloods. The common corridor was lit primarily with 250-watt Photofloods fitted inside sconces and “dimmed down as needed,” says Nako. Sigel adds, “We always go through a dimmer system. It’s faster and gives you more control.”
为了补充公寓内的实景光源的照明不足，剧组通常会租赁并配备色温3200度K32灯管的4英尺双排Kino Flo，同时也会用一些小型的家用照明器具组装一些可调控的Photoflood排灯。公用走廊主要是用装在灯台中的250瓦Photoflood来提供照明，而且“根据需求可以调暗，”那科说。辛老师补充道，“我们一直会使用一套光控系统。它速度快而且可控度高。”
At one end of the corridor, the crew also constructed an elevator set. To sell the impression that the elevator was moving from one floor to another, the art department would redress the hallway just outside the elevator to appear as different floors. For shots in which the doors open to reveal the parking garage, the crew actually rebuilt the elevator set in a garage at Los Angeles Center Studios. There, Nako explains, “we changed out all the globes and replaced them with 4-foot Kino Flo 3200s. We also added kicks and sheens with some 10Ks, and we did some raking with Mole Baby 2Ks with Small Quartz Plus Chimeras; the Chimeras usually wore a Quarter Grid Front and a 40-degree Lighttools LCD [light-control device].”
在走廊的一端，剧组还搭建了一个电梯的景。为了给人一种电梯从一层楼到另一层楼的印象，美工组将电梯外的那圈走廊都重新布置了一遍，好让它看着像另一层楼的。电梯门一开就是停车场的那些镜头，剧组实际上是在洛杉矶中心摄影棚（Los Angeles Center Studios）里重新搭建的电梯场景。那场戏那科是这么解释的，“我们把所有的灯泡都换了，都换成了色温3200度4‘灯管的Kino Flo。我们也加了一些10K的灯作为逆光（kick）和轮廓光（sheen），同时我们用加了Small Quartz Plus Chimeras（一种尼龙制的柔光罩）的色温2K的Mole Baby灯作为斜角光（raking）；Chimeras灯罩前经常会套上一个Quarter Grid Front遮罩和一个40度的调光器。”
The elevator is the setting for a crucial scene in which Driver and Irene find themselves sharing a ride with a hit man (Christian Cage) who’s been sent to kill them. Glimpsing the killer’s holstered gun, Driver gently pushes Irene toward the back corner; the lights dim, and, in slow motion, Driver turns and kisses Irene. Nako explains, “The units in the elevator were recessed can lights with 75-watt JDR Spot Globes. We also added what I call a ‘Mini Space Light,’ a variation on the covered wagon. All the lights in the elevator were controlled by a dimmer board.”
The lights come back up to their normal level, and then, with the camera again rolling at 24 fps, Driver spins and smashes the man’s face into the elevator’s controls. A brief struggle ensues, ending when Driver literally kicks in the man’s face. “It’s the ultimate irony, going into this act of violence from his one good moment of love,” Sigel muses. “When Irene walks out of the elevator and looks back at Driver, this wild animal, you realize it’s over between them.”
电梯是片中十分关键的一场戏，段金发和伊人在这里遇上了仇家派来的杀手。瞥见了杀手的枪套之后，段金发将伊人轻轻推到了墙角；光影转换，变成慢镜头的画面下，段金发回头开始在伊人的唇间游走。那科解释说，“电梯里的照明设备是一些装着75瓦JDR灯泡的吸顶灯（can light）。我们还在电梯里安放了一些称为‘迷你太空灯’（Mini Space Light）的设备来增加变幻效果（a variation on the covered wagon，译者注：此处不是很确定）。电梯内的所有灯光都由光控仪控制（dimmer board）。”随后灯光回复原貌，然后摄影机也回到了24fps的速率，段金发揪起杀手的头便向电梯按钮撞去。短暂的交锋之后，情节以段金发朝杀手的脸猛踢一脚而告终。“这段真的很有讽刺效果，在他的浪漫时刻发生了暴力行为，”辛老师若有所思的说，“当伊人步出电梯回眸看段金发这头不羁的野兽的时候，你就能明白他俩之间就这么结束了。”
“There’s a scene in every one of my films that is the heart of the movie, and in Drive it’s the elevator scene,” says Refn. “It was a way to tip the viewer to Driver’s essential dilemma. You don’t know if it’s his fantasy or his reality, and he doesn’t quite know himself.”
“我的每部电影中都有一场灵魂戏，在《落日车神》中就是这场电梯戏。”尼古丁说。“这是一种可以将观众推入段金发情感挣扎内心的方式。你无法知晓这是幻想还是现实，而且他自己也是懵懵懂懂。”
The head smash “was very much inspired by Gaspar Noé’s Irreversible [AC April ’03],” adds Refn. “Gaspar talked me through how he did it.”
爆头那场戏的灵感是“来自卡斯帕•诺埃（Gaspar Noé）的《不可撤销》”，尼古丁补充说。“卡斯帕和我聊过他是怎么拍的。”
For Drive, visual-effects supervisor Jerry Spivack oversaw the digital compositing of the actor’s body with a prosthetic head. Similar work was also done for an earlier scene in which Driver and Blanche (Christina Hendricks), an accomplice in the ill-fated heist, hole up in a tiny motel room. When armed thugs break into the room, one shoots Blanche in the head. Sigel explains that the special-effects department “built a prosthetic head and blew it up, and we photographed it at high speed [using a Weisscam HS-2 recording at 250 fps]. We also photographed Christina at high speed, and then the visual-effects team combined the heads to create the effect of her head being blown off.
《落日车神》的视觉特效总监Jerry Spivack监督了用一个修复的头颅安在数码合成的演员身体上的过程。在之前一场段金发和那个倒霉的抢劫同伙白斩鸡（Blanche ，Christina Hendricks扮演）的旅馆戏中，同样用到了这一特效。几名武装悍匪闯入，一枪就爆了白斩鸡的头。辛老师解释说特效组“做了个假头然后弄爆了它，然后我们用高速摄像拍了下来[Weisscam HS-2，摄制速度达250fps]。我们也用高速摄影拍下了演员，然后视觉特效组就把这个假头合成到了真头上，制造出了爆头的效果。”
“Trying to light someone in a practical bathroom not big enough to fit two people was a challenge,” Sigel continues. “Fortunately, there was a window we could light from, but we needed to add 21⁄2 more stops to accommodate the high speed. To make matters worse, there was a tree right outside the window. Nonetheless, the judicious use of an 18K Arrimax did the trick.
“在一间容不下两人的狭小浴室间想用实景光作为人物的照明灯光是件棘手活，”辛老师接着说。“幸运的是，里面有个窗户可以让光打进去，然而我们必须增大2.5档光圈值，好和高速摄影机匹配起来。（注：高速摄影在其他条件相同的情况下，由于单格画面接收的光照量较之普通速度的摄影机少，所以单位时间内的感光就会随之降低，增大光圈可以让单位时间内的进光量增加，防止画面曝光不足。）更糟糕的是，正对着窗户外面有棵树挡着。尽管如此，然而由于我们对18K Arrimax灯具的使用得当，所以这个把戏算是让我们耍成了。”
“Nicolas wanted the moments of violence to be incredibly visceral,” the cinematographer continues. “He wanted to go for the gore. The bulk of the film is not violent, but when it does turn to violence, it really is horrific.”
“尼古丁想让所有的暴力时刻都是劲道十足的，”摄影师继续补充说。“他想要刀刀见血，拳拳到肉，尽管这部影片的主体不是暴力，但是当暴力来临时，也会让你心头直颤。”
Refn says his approach to the film’s violence was in keeping with the fairytale elements he saw in the story, with Gosling playing “the knight, and Carey as the innocent girl whose purity needs to be protected. When violence comes in a fairytale, it’s always very brutal, in very short sentences, and characters die very violently.”
尼古丁说他对电影暴力的观念是和他对故事中的那种童话成分相结合的，高司令是“骑士”，穆里根是“需要捍卫童真的纯情女孩。童话故事中的暴力来临时，总是非常残忍的，在每个短句中，角色死得总是非常暴力。”
“Nicolas talks metaphorically about character,” notes Sigel. “Even when he was describing the tone of the car sequences, it was as if the car was an extension of Driver, like he was part man, part machine.”
“尼古丁总是寓言式的手法来探讨几个角色，”辛老师说。“甚至在他描述追车场面的调性时都这样，好似车就是段金发的身体延展，好像他就是个半人半车的东西。”
Finding the character within the driving sequences was crucial for Refn, who doesn’t have a driver’s license. “I have no interest in driving and no interest in cars,” says the director. “But this is a movie about a man who happens to drive a car, not a movie about cars.”
在开车戏中找出个性对没有驾照的尼古丁来说至关重要。“我对开车没兴趣，对车也没兴趣，”导演说。“这是一部关于一个男人的电影，这个男人正好会开车，这并不是一部关于车的电影。”
Sigel says Refn “wanted the film’s three main driving sequences to each have its own character and not be a traditional car chase. It wasn’t so much about being loud and noisy as it was about having a defined tonality.”
辛老师说尼古丁“希望这部影片中的三场主要的追车戏都能独树一帜并各有千秋。不是指那种马达轰鸣的场面，而是都要一种独特的调性。”
Those three sequences were all shot during the final two weeks of production. In the first sequence, Driver navigates a silver Chevy Impala through downtown L.A. at night, evading the police and delivering two thieves to the parking lot of the Staples Center, where they and Driver disappear into the crowd.
所有三场戏都是在拍摄期的最后两周完成的。第一场戏里，段金发驾驶一辆银色雪佛兰黑斑羚夜间穿越洛杉矶中心城区，甩掉警察的同时，将两名窃贼平安送达斯坦普球场的停车库，随后三人消失在了散场的人流中。
“That first chase is meant to be very subjective,” says Sigel. “For the bulk of it, [we] don’t even leave the car — the whole sequence is from Driver’s point of view.” To position cameras in and around the car, Klabukov and his crew rigged high hats inside and speed-rail rigs along the outside.
“第一场追车是很主观视角的，”辛老师说。“主要的拍摄内容，我们甚至都没下过车——整场戏是从段金发的主观视角出发的。”为了在车内和车的周围安放摄影机，Klabukov和他的团队在车内组装了一些平衡摄影托（high hat），车外则围着装了一圈平衡摄影架（speed-rail）。
“As part of my test, I took Ryan out in a car, and Tony and I rigged the car with a rack overhead with all different kinds of tiny lights, such as LEDs and 150-watt [Arri Fresnels],” says Sigel. “We wired them all into dimmers in the trunk that could be wirelessly controlled, so we could turn lights off and on or dim them up and down. The lights were all so small and unobtrusive that they were never in shot, so Ryan could just drive around while Tony played the roof rack like a musical instrument. There were also times when we’d kill all of our lights — we’d pull up to a stoplight, and you could see the light on Ryan’s face go from red to green.”
“作为测试的一部分，我把高司令弄到车里，Tony和我就在车顶部装了有许多种诸如LED和150瓦[阿莱Fresnel]小灯的灯架，”辛老师说。“我们把这些灯都与车内可以无线操纵的调光器进行了连接，这样我们就能控制灯的开关和光的强弱了。那些灯都很小而且一点都不会对画面形成干扰，这样高司令就只要管开车四处走就行了，而Tony则会像演奏乐器一样的操作顶棚的灯架。有些时候我们也得关掉所有的小灯——因为我们得把光源集中到交通灯上，这时你就能发现高司令的脸会从红色变成绿色。”
For the shoot, the filmmakers refined the system they had utilized for the test and continued to light primarily from the roof-mounted speed-rail rig, which sat like a halo atop the car. Off of the rig, the crew positioned Arri 150-watt tungsten units, some gelled with Rosco Urban Color #3152 or Lee Fluorescent 5,700°K #241, to supplement the output of sodium-vapor and mercury-vapor practicals. Nako also employed what he calls “D-Lights. Josh Stern, my best boy, and I designed these housings that look like an iPhone and [fitted them with] LiteRibbon LEDs from LiteGear.” Some of the D-Lights contained hybrid LiteRibbons, which allowed Nako to switch between tungsten and daylight color temperatures, and others contained RGB strips, which allowed for a wider array of colors.
在拍摄时，剧组成员改进了原本用于测试的系统，打光继续采用主要从车的垂直上方的平衡摄影架照射下来的方式，看着就像车子顶部附着上了一层光晕。除了支架之外，剧组还放了一些150瓦的阿莱钨丝照明组件，有些还加上了Rosco Urban Color#3152色片或Lee Fluorescent 5700K色温#241滤镜来作为实景内的钠灯和水银灯的色彩补充。那科还采购了一些他称为“D-light”的元件，“我和灯光助理Josh Stern一起设计了这些看上去像个iphone一样的家伙，然后把Lite Gear公司生产的LiteRibbon LED灯安装进去。”其中一些D-light还安装了混合型的LiteRibbon，这样可以让那科从钨丝灯和日光的色温之间来回切换，其他的还安装了RGB strip闪光色带，让电影有更为宽广的色彩层次。
Nako and his crew also placed D-Lights inside the car, along with what the gaffer calls “LED Sticks,” strips of Hybrid or RGB LiteRibbon fitted inside 3", 6" or 12" lengths of aluminum channel. “We used the 12-inch on the windshield [to supplement] the red-light/green-light effect, and we used a 3-inch LED Stick in the instrument-panel area to provide some glow,” says Nako.
那科和他的组员还把D-light用在了车内，紧挨着灯光师称作“LED stick”放置，LED stick是由混合型和RGB的LiteRibbon 灯装进3、6、9英寸长的铝管所制成的发光器件。“我们把12英寸的用在挡风玻璃上用来增加红绿灯的效果，然后我们用3英寸的LED stick用在仪表盘区域来提供荧光效果。”那科说。
To power all the lights in and around the car, the crew placed a 12-volt 150AH MF Truck battery in the Impala’s trunk. “They put a bigger alternator in the motor, so the battery was being charged by the engine of the car as we drove,” explains Nako. “The battery pushed 32 channels of 12-volt. Each D-Light was either two or three channels — the RGB had three channels and the hybrids had two channels. I also had two 6-by-1.2K Lightronics dimmer packs on top of the car for the Arri 150s, and the whole system was being controlled by wireless DMX, so we could chase the car with the follow van, where I had the ETC Smart Fade ML dimmer board.”
为了给所有车内和车身周边的灯光提供电力，剧组在黑斑羚车内放置了12V 150AH的MF 汽车专用电池。“他们在马达上安装了一个更大的交流发电机，所以只要我们的车在开，电池就会源源不断地被充电，”那科解释说。“电池可以为12V的32根线束供电。每个D-light有2到3根线束——RGB有三根，混合型的是两根。我还有两个6×1.2k Lightronics的阿莱150s灯的光控器装在车顶，所有的设备都由一个无线DMX光控器控制，这样我们就能开着货车跟在车后面跑了，货车里有ETC Smart Fade ML光控板。”
The second car chase takes place during the day and begins with the heist gone wrong, which leaves Standard dead at the scene. As Driver and Blanche speed away in a black Ford Mustang, a Chrysler 300 sedan with tinted windows begins its pursuit. “I loved the idea of this strange extra car,” says Refn. “My reference was when Cary Grant runs in the crop field in North by Northwest. The plane comes, and you don’t really know why it’s there; it’s a dreamlike situation.” The director was equally inspired by Claude Lelouch’s short film Rendezvous, in which a car tears through the streets of Paris while the revving engine fills the soundtrack. Refn recalls, “I said, ‘What if I did a chase that’s all about the sound of the cars?’”
第二场追车戏发生在白天，起因是抢劫失手，史模范挂了。段金发和白斩鸡开着一辆黑色的福特野马开始跑路，一辆窗户紧闭的克莱斯勒300紧追不舍.“我喜欢这种忽然冒出来一辆怪车的点子，”尼古丁说道。“我的灵感参考来自于《西北偏北》里面加里•格兰特玉米地的那场戏。平地里飞出一架飞机，你也不知道它哪儿冒出来的；就像梦境一样。”导演同样也受到了克劳德•勒鲁许的短片《集结号》（Rendezvous）的启发，那部影片中一辆车横穿了巴黎的街道，引擎的轰鸣声充斥了整条声道。尼古丁回忆说：“我提议，‘如果我来场关于汽车声音的追车戏会如何？’”
In terms of coverage, says Sigel, “the second car chase is meant to be the most traditional. The twist at the end is that Driver’s ability to overcome the car that’s chasing him is done by a bit of trickery: spinning his car around and driving backwards. It’s almost like a tongue-in-cheek play on the climactic moment of a traditional car chase.”
辛老师说，出于镜头视角（coverage）的考虑，“第二场追车戏打算做成最传统的那种。在这场戏的最后部分百转千回，段金发利用其高超车技耍了几个伎俩就做掉了跟踪对手。这就好似一出传统追车戏在高潮部分突然变成了一出哑剧。”
The sequence was shot over two days around the Templin Highway exit off of Interstate 5. AC visited the location on the second day and found the crew busy prepping the climax of the chase, when Driver puts his Mustang through a 270-degree spin to separate himself from the Chrysler, which then caroms off a guardrail. The Chrysler’s crash is seen through the rear windshield of the Mustang as Hendricks “freaks out in the foreground,” says Sigel; the shot was captured with an Alexa locked down where the front passenger seat would normally be, next to the precision driver who took the wheel for the stunt.
这场戏是在5号洲际公路出口处的Templin高速公路附近花两天多时间拍摄的。小编在拍摄第二天造访了拍摄外景地，去时发现剧组正忙于准备拍摄追车戏的高潮段落：段金发开着野马车来了个270度的回旋弯甩开了那辆克莱斯勒，后者旋即冲上了护栏并开始翻滚。克莱斯勒的翻车场面是从野马车的后窗挡风玻璃中看到的，当时坐在前景的白斩鸡“早已吓得魂不附体了”，辛老师说；这个镜头是通过一台固定在副驾驶座位上的Alexa捕捉到的，机器当时紧挨着动作替身驾驶员。
Despite the heat, Refn was again wearing a blanket around his waist as he oversaw the proceedings on location. In addition to the Alexa in the Mustang, the crew was prepping a number of other cameras to ensure the crash would not require more than one take; the other cameras included an Alexa on a remote head positioned along the side of the road, another on a Mercedes SUV-mounted Ultimate Arm, and an Iconix HD-RH1 on the Mustang’s dashboard.
尼古丁在外景地监督拍摄期间，依然不顾炎热在腰间系上了条床单。除了一台野马车上的Alexa摄影机之外，剧组为了保证翻车戏不用重拍，也在其他位置配备了一定数量的摄影机；其他摄影机包括一台装在沿着路边运动的移动头（remote head）上的Alexa，另一台装在一台以梅赛德斯SUV为装载车的Ultimate Arm摇臂上，还有一台Iconix HD-RH1装在野马车的仪表盘上。
Sigel notes that he also “set up my [Canon EOS] 5D in a fixed-camera position to get more coverage. Every time I pulled out my 5D, it ended up being used, just because you can put that camera where you wouldn’t dare put an Alexa.” However, the cinematographer adds, “in prep, focus puller Nino Neuboeck and I tested the 5D, 7D and Iconix cameras, thinking they would come in handy for the car work, but the quality of the Alexa outdistanced the other cameras by so far, we kept them to an absolute minimum.”
辛老师还提到了他也会“摄制一个用自己的[佳能EOS]5D数码相机作为拍摄更多镜头视角（coverage）的固定机位（fixed-camera postion）。每当我拿出我的5D，最后总会以报废收场，就是因为你能放佳能的地方正是你不敢放Alexa的地方。”尽管如此，摄影师还是补充说，“在前期阶段，跟焦员Nino Neuboeck和我分别测试了5D，7D和Iconix摄影机，觉着它们拍摄追车戏很趁手，但是Alexa的画质比其他那些超出了一大截，所以那些设备的使用量极少。”
Sigel describes Drive’s third and final chase sequence as “the most predatory.” Having traced his problems since the heist back to crime boss Bernie Rose (Albert Brooks) and his associate, Nino (Ron Perlman), Driver hunts Nino at night and runs the gangster’s car off the road. Driver then drives straight into the side of Nino’s car with enough force to send it toppling over a cliff.
辛老师将段金发的第三场也是最后一场追车戏称为“最铁血（predatory）的追车戏。”查出那次抢劫的幕后黑手原来是黑老大百年螺丝（Bernie Rose，Albert Brooks扮演）和他的帮凶，Nino（Ron Perlman扮演）之后，段金发夜袭Nino，将他的座驾逼到了路边，随后段将车开到Nino座驾的侧面来了一个措不及防的强力击，把车撞下了悬崖。
The sequence was filmed at Malibu’s Point Mugu, where the production occupied a parking lot that overlooked the stretch of beach where Nino’s car lands. To backlight the crash, Sigel and Nako employed a 16-head and a 9-head Bebee Night Light, and for fill they utilized 4\' tungsten spheres rented from Skylight Lighting Balloons. Additionally, the crew brought in “cobra head” sodium-vapor streetlamps, which play in frame behind Driver as he walks onto the beach and chases Nino into the crashing surf. The streetlamps’ warm backlight was further supplemented by “what I call Light Grenades, bare sodium-vapor globes that we could easily move around and flag off, depending on what effect was needed,” says Nako.
这场戏在马里布的蘑菇峽（Point Mugu）拍摄，剧组在那里租用了一个可以看到Nino座驾落地后海滩轮廓的停车场。辛老师和那科从Skylight Lighting Balloons租用了一个16头和9头的Bebee Night Light为撞车戏打逆光，同时租用4’圆形钨丝灯做补光。除此以外，剧组还拿了“蛇头型”（cobra head）的钠灯当路灯，用在段金发走向海滩并追赶扑向海浪的Nino的镜头里作为照明光源。通过那科本人称为“照明弹的钠灯泡”，路灯的暖色背景光得到了进一步的增强，“我们可以根据效果轻易的移动和遮住他们”。
“Another big effect we had on the beach was a searchlight, which was actually a 7K Xenon bounced into a spinning 4-by-4 mirror,” the gaffer continues. “Then, when the camera looks at the ocean, we turned the 16-head Bebee toward the water and lit the atmosphere above it, so we could actually see the ocean.”
“我们在海滩戏中的另一个大的视觉效果是一个探照灯，实际上它只是个7K Xenon的灯光经过一个4×4的反光镜反射的效果，”灯光师补充道，“随后，当摄影机朝向海面拍摄的时候，我们就把那个16头的Bebee对准水面，并照亮上方的空气带，这样我们就能看到海了。”
Throughout the shoot, the filmmakers recorded out from the Alexa to HDCam-SR tape. The camera was also monitored through a Film Light Trulight On-Set system, which was overseen by digital-imaging technician Ryan Nguyen. Sigel explains that the Trulight system allowed the filmmakers to do “real-time color correction on the set. We didn’t do anything radical, but we’d add some contrast and a little bit of saturation. All of the [metadata] would be recorded on a Flash drive that would go to FotoKem, where [colorist/ASC associate member] Mark Van Horne, whom I’ve known for many years, was kind enough to sit in during the transfer. Mark knew the look I was going for, and if he saw something going in the wrong direction, he’d make some corrections and give me a call. It was a very simple and easy system.
影片拍摄期间，Alexa拍摄的素材都录制在HD Cam-5R磁带上。摄影机的监视器则是一套叫做Film Light Trulight On-Set的现场设备，供数字影像技术员Ryan Nguyen现场监督观测。辛老师解释说Trulight系统让电影制作者可以“在现场实时做校色。我们没动任何大手脚，但我们增加了一些对比度和一点点饱和度。所有的[素材]（metadata）都被保存在闪存盘上然后送到FotoKem去做后期，我的老朋友[配光师/ASC助理会员]Mark Van Horne会在那里监督转制过程。Mark知道我想要的视觉效果，而且假如我发现有些地方不对劲的话，他会做些修改然后打电话知会我。这是一种很简单和融洽的工作关系。”
“Because of all the work we did with the Trulight, the DI was pretty simple,” continues Sigel. The final digital grade was carried out at Company 3’s New York facility with colorist Tom Poole; Sigel also did some preliminary work with colorist Stephen Nakamura.
“因为我们所有的摄制工作都是用Trulight系统完成的，所以数字中间片的工作就很简单了，”辛老师继续说。最终的数码渐变是配光师Tom Poople在Company 3的纽约工场内完成的；辛老师和配光师Stephen Nakamura也做了一些准备性的工作。
Drive had its premiere at this year’s Cannes Film Festival, where Refn received the award for Best Director. In a conversation with the director a few months later, AC at last asked the pressing question: What’s the deal with that blanket he wears on set?
《落日车神》在今年嘎纳出了不少风头，尼古丁拿到了最佳导演奖。数月后的一次交谈中，小编最后还是忍不住问了他一个问题：你现场带的那块床单是怎么个情况？
“It’s a ritual I’ve had since my first movie,” says Refn. “On all my films, I find a blanket in the costume department, and I wrap it around my stomach to keep the energy within me. I only take it off if I’m very, very angry or very, very hot. It keeps my stomach warm, which centers me and gives me peace. Filmmaking is a stressful experience.”
“这是哥从处女作开始就形成的一种仪式，”尼古丁吹嘘道。“每次拍戏，我都会在服装部找块床单，然后系在我的胃部以保持精力。只有当我非常非常非常的愤怒或者非常非常热的时候我才会摘掉。这可以暖胃，然后让我保持清醒和平静的心态。毕竟拍片是个鸭梨山大的活。”
影视工业网已取得译者同意转载自：http://www.douban.com/note/182011139/
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