Mc Creery 毕业于 Art Center College of Design ,是好莱坞最领先和最具想象力的概念设计师。 曾为很多我们这个时代好莱坞电影史最著名的电影和在经济上成功的影片做过设计，包括：《终结者2》,《蝙蝠侠归来》, 《剪刀手爱德华》, 《侏罗纪公园》系列, 《洛克》, 迪士尼的《加勒比海盗》等。McCreery给 《侏罗纪公园》的设计延展的商品，视频与主题公园的销售达20亿美金。他的作品被Cinefex杂志推荐、好莱坞记者报, 每日综艺和芭芭拉 · 沃尔特斯称他为“最迷人的人物”。

McCreery先生将于2015年4月23至24日在“Create Change”设计论坛中分享自己的设计。
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您曾经和电影行业里的一些大导演合作过。有哪些东西会让一个导演易于或难于进行合作？
McCreery: 我认为，这取决于导演对其视觉的投入程度，这也决定了流程的进展效率。在我曾经合作过的导演中，比如说吉姆·卡梅隆 (Jim Cameron) ，他事实上能做好其他所有人的工作，并且比他们做得更好，包括设计，这确实就是将他在自己脑海中想到的东西描绘到纸上（或电脑中），在我看来，他真的是才华横溢，总能给人以灵感。这就使得他总能比其他人看的更远，做的更好。当然，还有一些导演，可能并不知道自己到底在寻求什么。而悲剧在于，即使他们看到一项实际上很成功的设计，他们可能也认识不到这一点，而该设计恰恰有可能满足所有的要求并且与众不同。他们看不出来的原因在于，它描述的是他们未曾见过或他们已经熟悉的某些事物。因此，他们会转向别人已经用过的做法，只是因为这些做法之前曾获得成功。他们希望那样的设计“有所不同”。这就引起了一个相当可怕的过程，即对本身已经非常出色的设计进行再加工和修改，这样的设计已在别的电影中获得了成功。在“我想要外星人/铁血战士”以及“它看来很像外星人/铁血战士”的想法之间来回变化，于是人所周知的狗追自己尾巴的流程就开始了。对我而言，幸运的是——这已经只是例外情况而非规则——我很荣幸能够与行业中一些最有才华的视觉艺术家进行合作，我认为，这也是我被视为如此成功的重要原因，和出色的“创作者”合作过。而当你站在电影行业最耀眼的明星旁边时，想要不闪闪发光也很困难。

真正的创造力和创新总是一项挑战。您是如何想出新颖的概念和设计的？
McCreery: 通过大量的探索。有时候，我们需要花费很多时间去克服常规的东西——那些潜伏在您意识后面的想法——也是由你之前见过或已经体验过的元素组成的想法。要摆脱所有活动在潜意识里的已经形成的想法，去跳入一片未知的水域，这当然是困难的。有时，你认为自己已经获得了一些新颖的想法，然后你意识到，“我就知道我之前在哪里看过这个！”这可能是个令人沮丧的过程，但是如果你能释怀，并敞开自己的思维——以一张白纸开始——你可能还有机会。这就是为何与有才华的导演和艺术家合作是件好事，想法的来回碰撞往往会激发出更多的想法，从而将你带至他人未曾到达的领地。征求其他人的想法，并看着它侧移到你未曾想到的方向，这也是很有价值的。

您是否在每一部电影中都使用想同的创意过程？
McCreery: 过程总是不同的，这就是我为何会对每一个过程都那么投入。它是一项非常需要协力完成的媒介，如果你能够开展那样的合作，与别的创意无限、思想相近的艺术家进行合作，相比仅仅依靠你一人的想象力，你更有可能制作出激动人心的原创作品。有时候，你会拿到一部已经包含了细节、描述以及想法的定稿剧本，还有一些时候，你仅仅会拿到一些不具体的参考，来引导你填满那些空白。无论哪一种方式，过程取决于你进行尝试时所掌握的信息量和赋予你的自由度。一些制作公司愿意采用创意的流程，而另一些公司，出于控制的目的，则想要遏制及驾驭艺术家不同于常人的天赋，而我喜欢前者。
为何概念设计者对一部电影的成功如此重要？
McCreery: 电影是视觉叙事。我认为，太多的解说对电影而言是死路一条。这就是为何人们只说“你晚上想去看电影吗”，而不是“你晚上想去听电影吗？”。怀疑的悬念取决于观众是否“相信”他们正在看的场景，如果他们相信的话，他们就沉浸到故事和角色里，并且觉得他们也是其中的一份子。设计师的工作就是将观众带到那个世界里并让他们停留在那个世界里（在视觉上），不论那是一个无人曾见过的奇异世界还是一个你熟悉的世界。如果你不相信你所置身的世界——我为什么要关心别人所说的话或所作的事？故事又想要告诉我什么？即使在一个熟悉的世界里，也需要通过设计帮助将故事讲述给其观众——有意或者无意。在我看来，当然，最好的设计是那些让你感觉不到任何设计痕迹的设计，它们本身就让人觉得是“正确的”。总之，这是非常具有挑战性的职位，但是，将其称为“我的作品”，这总是我的荣幸！

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英文版：
Mark “Crash” McCreery is one of Hollywood’s leading and most imaginative Concept Designers. He has worked on many of the most well-known and financially successful films in Hollywood history, giving vision to many of the most famous Film Directors of our time, including:“Terminator 2” , “Batman Returns” and “Edward Scissor hands”, “Jurassic Park” and “Jurassic Park: The Lost World” (with Stephen Spielberg), “Hulk”, and Disney’s “Pirates of the Caribbean.” McCreery’s work on the “Jurassic Park” films led to sales of merchandise, videos and theme park rides approaching USD 2 billion. His work has been featured in Cinefex Magazine, The Hollywood Reporter, Daily Varietyand Barbara Walters “Most Fascinating People.”
Mr. Mark “Crash” McCreery will share his experience at the Create Change Design Forum to be held from April 23 to 24, 2015.Visit www.accdchina.com for more information.You’ve worked with some of the biggest Directors in the film industry. What makes a Director easy or difficult to work with?
McCreery: I think depending on how committed the director is to his vision, determines how efficiently the process goes. I’ve worked with directors like Jim Cameron who can literally do everyone else’s job better than they can – including designing – and it’s really a matter of getting down on paper (or computer now-a-days) what he already sees in his head– which to me is always brilliant and inspiring. It really becomes a game of catch-up with him.
Then there are those directors who may not have any idea as to what they are looking for. The tragedy in that is that they may not recognize a successful design if they saw it – one that potentially satisfies all requirements and is unique. They don’t recognize it because it depicts something they haven’t seen or are familiar with. So they gravitate towards something that’s already been done before because it worked. They want that design…but…“different”. This then starts the awful process of regurgitating and re-working an already brilliant design that worked previouslyin another movie. There is a lot of back and forth between “I want Alien/Predator” and “It looks too much like Alien/Predator” - and so begins the proverbial process of the dog chasing it’s own tail. Fortunately for me – this has been the exception and not the rule – I’ve had the blessing of working with the most talented visionaries in the industry – I think that’s a big part of why I’m perceived as being so successful – I’ve been aligned with amazing“Creators” and it’s hard not to shine standing next to the brightest stars in filmmaking.
Real creativity and innovation is always a challenge. How do you come up with original concepts and designs?
McCreery: Through a lot of exploration. Sometimes it takes a great amount of time just to get through what’s conventional –what’s been resting in the back of your mind – ideas constructed of elements you’ve seen before or already experienced. It’s difficult to cut through all of the pre-conceived ideas swimming around your subconscious and dive into unknown waters. Sometimes you think you’ve got something fresh and then it hits you –“Crap – I know where I’ve seen this before!” It can be a frustrating process and if you are able to let go and open your mind up – start with a blank slate– you might stand a chance. That’s why it’s nice to collaborate with talented Directors and artists – ideas that get bounced around tend to spur more ideas and take you to places that no one has been before. It’s an asset to have someone to bounce an idea off of and watch it careen into a direction you didn’t expect.
Do you use the same creative process for each of your films?
McCreery: The process is always different and that’s why I love it so much. It’s a very collaborative medium and if you can embrace that collaboration – working with other creative, like-minded artists –your chances of producing something original and exciting are greater than relying solely on your own imagination. Sometimes you’ll have a finished script with details, descriptions and Ideas built into it already – other times – they are looking for you to fill in the blank with only vague references to guide you. Either way – the process depends on the amount of information and freedom you have to experiment. Some Production Companies embrace the creative process– while others want to contain and manage an artist’s eccentric talent that make them unique strictly for the purpose of control – I like the former.
Why is the concept designer so important to the success of the film?
McCreery: Movies are VISUAL story telling. I feel that too much exposition is certain death for a movie. That’s why people say “Do you want to SEE a movie tonight?” Not, “Do you want to HEAR a movie tonight?” The suspension of disbelief hinges on weather an audience “Believes”what they are seeing – if they believe what they are watching then they are immersed into the story and characters and feel they are a part of it. It’s the designer’s job to transport the audience into that world and keep them there –visually – whether it’s a fantastic world that no one has ever seen before or one you are familiar with. If you don’t believe where you – why would you care what anyone is saying or doing or what the story is trying to tell you? Even in a familiar world – there is a design responsibility that needs to help the story communicate to its audience –consciously or subconsciously. To me, the best designs, of course, are the ones that don’t feel designed – they just inherently feel…“right”. All in all – it’s a very challenging position – but it’s always a genuine privilege to call this “my work”!
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