Chapter 71 072 Movie clips that have never existed in mory
In Spielberg's view, painting is a basic skill that everyone in the Jewish gang knows.
It doesn’t matter if your drawing is good or not, as long as the artistic conception in your mind can be expressed through the lines of the storyboard draft, that’s enough.
But for Roland, this is actually more like a test.
Although he knew how much Spielberg and Lucas loved painting, unfortunately, in the previous ti loop, he did not learn anything related to painting from Zeckis.
Zeckis only taught him so acting skills and a set of cara techniques, as well as how to find the erratic characters in the script. As for other aspects...he didn't know anything.
No way, this is the drawback of the ti loop.
Because he didn't retain his mory, every ti Roland got close to the other party, it was always the first ti that the other party knew him.
In this case, how much knowledge he can acquire depends entirely on destiny.
However, even so, after receiving the pen and paper from Spielberg, Roland, who rolled his eyes, still thought of other elents: since there is no problem in copying the scenery and drawing sothing, it is still a long ti before creation, Then why didn't he pick up the materials at hand and use them directly? Spielberg's storyboard script has a prototype of Tyrannosaurus rex. In this case, I first copied a Tyrannosaurus rex with a **** mouth and roaring wantonly, and then drew the most familiar Spiderman standing next to it. Opposite, isn't it over?
Tyrannosaurus rex roaring directly, Spiderman bowed his back to the audience, making a fighting posture, this kind of picture is too simple!
Do as soon as you think of it, write hard.
However, after Roland drew a few fras, he felt that sothing was wrong with this picture.
Of course, there is no problem with the structure of the screen, but if it is turned into a lens, then the problem will be a big one.
The image in his mind is a long-range shot, and if this kind of image is used for film and television shooting, although it can reflect the power of the Tyrannosaurus Rex, it relatively weakens the superhero Spider-Man. From the most intuitive visual point of view, the audience After seeing this scene, one would feel that Spider-Man was naturally short, and this was a useless shot for Roland who wanted to create a sense of evenness, so—after biting the pen, Roland changed it.
He changed the distant view to a small panorama, with Spider-Man standing tall and strong, while the Tyrannosaurus rex in the distance was extrely fierce with its teeth and claws open, but the image of only half of its body entering the scene directly brought the size gap between the two sides back to the sa starting line.
Of course, although the body of the Tyrannosaurus rex has been weakened, the half of the body that disappears out of the cara can still leave room for the audience to imagine, and the Spider-Man who is facing it is not caught by the cara because the opponent is too big. shrink into a child.
Although Spielberg asked him to draw without setting a the, Roland felt that if he abandoned the language of the cara, wouldn't that be a waste of performance opportunities?
As he changed, Spielberg, who had been staring at the drawing paper, naturally saw his train of thought clearly.
When Roland wanted to draw a distant view, he rested his chin on one hand and raised his eyebrows as Spielberg, who was swaying with the vehicle, waited for Roland to wipe off the traces of the painting and change it to a small panorama. With a satisfied smile, he clung to the Face.
"Yes, although your paintings are not as realistic as Jas, nor as detailed as Robert (Zeckis), but your style is really similar to my "Jurassic Park" comic style..."
"However, there are so problems with your proportions. If I were you, I wouldn't draw the whole half of the Tyrannosaurus Rex."
"A head and a back are enough. What you want to show is the roar and **** mouth of the Tyrannosaurus Rex. In this case, wouldn't including half of its body occupy the roaring screen space?"
"The head growls, uses its head to cover its body, and uses blind spots to cover up its body details. As for Spider-Man, your fighting posture is no different from those who draw comics. You just copied the Marvel storyboard, right? "
When Spielberg took Roland's work and comnted on it with a smile, Roland, who was sitting on the side, shrugged indifferently, "Director, don't ntion it even if you see through it (Don't ntion it even if you see through it)? I used to copy the real thing." Yes, this is the first ti I draw this kind of thing, of course it is useful for sothing..."
"Haha, you're right, what's the use..."
Although Roland's discourse was full of discrepancies in plagiarism, Spielberg didn't care.
Because in the entertainnt industry, there are too many cases of learning from each other.
Not to ntion active plagiarism, there are quite a few things just passively bumped into.
You know, when Spielberg was filming "Jaws
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