Komplettes Thema anzeigen
18.04.2008, 20:02
18.04.2008, 20:02
Betreff: Re: Indy 4 Pressemap (SPOILER)
Indiana Jones’ home was built on Stage 29 on Universal Studios’ famous backlot. “It’s one of those archetypal sets that allowed us to show our main character's more private side,” says Dyas. The production designer and his team worked hard to replicate Jones’ home, carefully pouring over images from the previous films. “We meticulously tried to recreate the style of Indiana Jones' 1930's home interior while keeping in mind the fact that we're now in 1957," says Dyas. Working with set decorator Larry Dias, Dyas sought to create a home that would both reflect Indy's personal style and interests and convey to the audience a real sense of passage of time since the last film. “We filled his living room and study area with beautiful & intriguing archaeological artifacts, objects that Indy has collected over the years during some of his other faraway adventures.”
Dyas’s team also created several exterior sets at Universal Studios, including the dangerous town where Indy and Mutt land on the first leg of their journey; and a massive, nearly 80-foot-tall, structure that’s part of the temple seen in the film’s climax.
A disappearing “stone” staircase built around a 35-foot cylinder went up on a soundstage on the other side of Los Angeles, at Sony Studios, formerly the legendary MGM backlot. The task of creating practical stairs that would retract as our heroes swiftly make their way down, fell to special effects coordinator Dan Sudick. (As opposed to the visual-effects work of Industrial Light & Magic, “special effects” refers to practical effects created on set.)
Sudick had handled special effects on Spielberg’s “War of the Worlds” and the director was so impressed with his work, he invited him back. “I walked onto the set and it was one of the most exciting things I have seen since I walked onto Joe Alves’ set on ‘Close Encounters of the Third Kind’ in that dirigible hanger in Mobile, Ala.,” recalls Spielberg.
Across the road, Universal’s Stage 27 housed another piece of the production puzzle – a Peruvian cemetery set. It was a large, multi-level construction that would allow the characters to crawl amid dusty ruins and ancient artifacts under the treacherous eyes of the keepers of the cemetery and its secrets. Running from a ghoulish mob, Indy and Mutt make their way down to the deepest part of the pit that links up to another set built 20 miles away in Downey, California.
At Downey Studios, a number of sets were erected in a massive hangar that, at more than 600,000 square feet, once served as a home to the development of the Apollo spacecraft and the Space Shuttle. Downey would serve as the home of several notable sequences in “Indiana Jones and the Kingdom of the Crystal Skull” – among them, a series of cave tunnels in which portions of the adventure unfold, and an experimental military-style bunker that’s related to another location filmed in New Mexico.
A 1950s diner, inspired by the Edward Hopper painting Nighthawks, was built on Paramount’s sprawling backlot, augmenting scenes filmed in Connecticut.
Of all the sets, one stood out as being of particular interest to longtime fans of the Indiana Jones movies: the warehouse. Twenty-seven years ago, it was created with the help of a detailed matte painting and great camera trickery, but in “Kingdom of the Crystal Skull,” Spielberg wanted to bring to life his matte painting. "I still remember watching that last scene from ‘Raiders of the Lost Ark, as a kid,” says Dyas, “and wondering how they did it. Little did I know that one day I'd be having real conversations with Steven Spielberg and George Lucas about it, it was very exciting to try and capture the spirit of that scene from the very first Indiana Jones film.”
On the Warner Bros. lot, the production took over the massive interior of Stage 16 to build some of the most elaborate sets for the climax of the film.
“Guy had a tremendous challenge because we wanted to do all the sets for real,” says Marshall. “He had to build sets that looked ancient, had history behind them, were scary and foreboding – and then had to put them on stages all around Los Angeles. We couldn’t do the whole movie on one lot, like we did in London with the other three, so for the first time in my career, we were on five different studio lots, which may be some sort of record.”
Despite their disparate locations, walking around on Dyas’s sets gave Spielberg a familiar thrill. “I’d walk on each set and say, ‘I’m on the set of an Indiana Jones movie – how lucky am I that I get to direct another one of these?!’”
Indiana Jones’ home was built on Stage 29 on Universal Studios’ famous backlot. “It’s one of those archetypal sets that allowed us to show our main character's more private side,” says Dyas. The production designer and his team worked hard to replicate Jones’ home, carefully pouring over images from the previous films. “We meticulously tried to recreate the style of Indiana Jones' 1930's home interior while keeping in mind the fact that we're now in 1957," says Dyas. Working with set decorator Larry Dias, Dyas sought to create a home that would both reflect Indy's personal style and interests and convey to the audience a real sense of passage of time since the last film. “We filled his living room and study area with beautiful & intriguing archaeological artifacts, objects that Indy has collected over the years during some of his other faraway adventures.”
Dyas’s team also created several exterior sets at Universal Studios, including the dangerous town where Indy and Mutt land on the first leg of their journey; and a massive, nearly 80-foot-tall, structure that’s part of the temple seen in the film’s climax.
A disappearing “stone” staircase built around a 35-foot cylinder went up on a soundstage on the other side of Los Angeles, at Sony Studios, formerly the legendary MGM backlot. The task of creating practical stairs that would retract as our heroes swiftly make their way down, fell to special effects coordinator Dan Sudick. (As opposed to the visual-effects work of Industrial Light & Magic, “special effects” refers to practical effects created on set.)
Sudick had handled special effects on Spielberg’s “War of the Worlds” and the director was so impressed with his work, he invited him back. “I walked onto the set and it was one of the most exciting things I have seen since I walked onto Joe Alves’ set on ‘Close Encounters of the Third Kind’ in that dirigible hanger in Mobile, Ala.,” recalls Spielberg.
Across the road, Universal’s Stage 27 housed another piece of the production puzzle – a Peruvian cemetery set. It was a large, multi-level construction that would allow the characters to crawl amid dusty ruins and ancient artifacts under the treacherous eyes of the keepers of the cemetery and its secrets. Running from a ghoulish mob, Indy and Mutt make their way down to the deepest part of the pit that links up to another set built 20 miles away in Downey, California.
At Downey Studios, a number of sets were erected in a massive hangar that, at more than 600,000 square feet, once served as a home to the development of the Apollo spacecraft and the Space Shuttle. Downey would serve as the home of several notable sequences in “Indiana Jones and the Kingdom of the Crystal Skull” – among them, a series of cave tunnels in which portions of the adventure unfold, and an experimental military-style bunker that’s related to another location filmed in New Mexico.
A 1950s diner, inspired by the Edward Hopper painting Nighthawks, was built on Paramount’s sprawling backlot, augmenting scenes filmed in Connecticut.
Of all the sets, one stood out as being of particular interest to longtime fans of the Indiana Jones movies: the warehouse. Twenty-seven years ago, it was created with the help of a detailed matte painting and great camera trickery, but in “Kingdom of the Crystal Skull,” Spielberg wanted to bring to life his matte painting. "I still remember watching that last scene from ‘Raiders of the Lost Ark, as a kid,” says Dyas, “and wondering how they did it. Little did I know that one day I'd be having real conversations with Steven Spielberg and George Lucas about it, it was very exciting to try and capture the spirit of that scene from the very first Indiana Jones film.”
On the Warner Bros. lot, the production took over the massive interior of Stage 16 to build some of the most elaborate sets for the climax of the film.
“Guy had a tremendous challenge because we wanted to do all the sets for real,” says Marshall. “He had to build sets that looked ancient, had history behind them, were scary and foreboding – and then had to put them on stages all around Los Angeles. We couldn’t do the whole movie on one lot, like we did in London with the other three, so for the first time in my career, we were on five different studio lots, which may be some sort of record.”
Despite their disparate locations, walking around on Dyas’s sets gave Spielberg a familiar thrill. “I’d walk on each set and say, ‘I’m on the set of an Indiana Jones movie – how lucky am I that I get to direct another one of these?!’”
Chris