立即打开
“镀金时代”的纽约市是什么样的?看这部剧就知道了

“镀金时代”的纽约市是什么样的?看这部剧就知道了

Radhika Marya 2020年07月22日
故事将带着观众一起重返镀金时代的纽约市,跟着主角一同调查新的恐怖案件。

如今,《沉默的天使》(Alienist: Angel of Darkness)第二季回归TNT电视台,粉丝们又可以大饱眼福了。与第一季(2018)一样,本季内容同样改编自卡莱布•卡尔的小说,故事将带着观众一起重返镀金时代的纽约市,跟着萨拉•霍华德(达科塔•范宁饰)、拉斯洛•克雷兹勒(丹尼尔•布鲁尔饰)和约翰•摩尔(卢克•伊万斯饰)一同调查新的恐怖案件。

第二季和第一季一样,也是在布达佩斯取景拍摄。作为一部大制作剧集,为了重塑“镀金时代”这一十分独特的美国历史时期,本季剧集汇集了一支国际化的幕后制作团队。第二季的制作设计师露丝•阿蒙告诉《财富》杂志,虽然上一季中的部分布景沿用到了这一季,但制作组还是需要制作许多新的布景,并在新的环境中进行工作。

TNT剧集《沉默的天使》主演:丹尼尔•布鲁尔、达科塔•范宁、卢克•伊万斯。图片来源:Marc Hom—TNT

阿蒙表示:“第一季给我们留下了很多外景拍摄场地,更妙的是,因为上一季故事的天气设定中既有阳光雨露,也有冰霜风雪,所以让每个布景都更具个性。”她又补充说,虽然之前的布景已经很棒了,但制作组还是另外加入了一些新的拍摄场景。

《沉默的天使》第一季更偏向夜间故事的风格,而《黑暗天使》中的许多场景则是在白天拍摄,因此也让许多人对新场景是否能延续上一季的风格产生了质疑。

“如何才能在中央公园或大街之上营造恐怖、阴暗的氛围呢?”为了解决这一问题,阿蒙决定从甘希沃特市场(Gansevoort Market)这样的历史保护区入手,打造所谓的“黑暗角落”,并通过“建筑物来控制光线”。

甘希沃特市场艺术概念图,这里正是新一季《沉默的天使》的所谓“黑暗角落”。图片来源:Pixoloid

在本季剧集中,观众将会看到一些全新布景,其中包括萨拉•霍华德的侦探社、报社大街(阿蒙的最爱)、产科医院和赛勒斯的牡蛎吧等。设置这些布景的目的是为了更好地讲述本季全新的探案故事,阿蒙也一直将这一目的牢记在心,在设置侦探社的布景时尤其如此。

阿蒙说:“第一季中,(剧中角色的)活动场所是一个临时的藏身处,比较破败、昏暗。而在第二季中,萨拉在辞掉自己警察局的工作后,出来创办了自己的侦探社,这在当时可是闻所未闻的。”

为了更好地展示角色的独立性,制作团队特地搭建了一个忙碌的商业区(阿蒙介绍说,在19世纪中叶,办公楼已经开始日渐兴起)。他们制作了标牌、橱窗,还开设了许多家面向商务人士的店铺,比如销售男士正装、打字机、办公用品和提供理发服务的商店。

阿蒙说:“这些商店面向的顾客群体都是办公楼中的商务男士,而萨拉则是其中唯一一名女性。”

《沉默的天使:黑暗天使》中的范宁、布鲁尔和伊万斯。范宁在剧中饰演萨拉•霍华德,她创办了自己的私家侦探社,独自在外打拼。图片来源:Kata Vermes—TNT

阿蒙介绍说,在新一季的剧集中,还有一段参加豪华舞会的剧情,“镀金年代”的女性常常通过这种方式与友人进行聚会。

在谈及那个时代的舞会时,她表示:"那时舞会的架势真的很像现在的红毯礼或类似的宣传活动。记者们围在街道两旁,成排的马车缓缓从红毯上经过,盛装打扮的人们沿着红毯走下,在相机的闪光灯中走入舞池之中。而且当时人们都是奇装异服、争奇斗艳,显然,那时的人们时间挺多的。”

在本季《沉默的天使》中,舞会的主题是“花园痴人”。阿蒙介绍说:“这场戏的原型是范德比尔特家族一名女性成员在华尔道夫阿斯托里亚酒店举办的一场舞会,当时她把所有的户外元素都搬到了室内。”而阿蒙她们则在此基础之上突出了这场舞会的色彩和“狂野”,并大量借鉴了玛丽•安托瓦内特带到凡尔赛的一些英式花园元素。

舞会的情节与这部剧集中许多更为恐怖的画面形成了对比,比如在剧中角色试图解决婴儿绑架案和偶然发现凶杀案线索时便有许多令人毛骨悚然的场景。

阿蒙承认说:“我们都得学会从剧情中抽离,清空自己的思绪,只有这样才能更好地应对这些恐怖的情节。”但她也表示,要想以不失尊重的方式讲述剧中的某些故事,就得与剧组中的其他成员展开合作,比如摄影导演和导演。“讲故事很重要。用正确的方式讲故事也很重要。”

过去这些年,阿蒙参与过许多影视剧的制作工作,她参与制作过的电视剧包括美国全国广播公司(NBC)的《英雄》(Heroes)和哥伦比亚广播公司(CBS)的《失踪现场》(Without a Trace)。但由于在构建本剧世界时在创作、研究及合作方面投入的大量工作,《沉默的天使》对她而言仍然具有特殊意义。

她介绍说:“为了展示各处环境,我们把这些内容详细的数据包都整合在了一起。搭建了许多3D模型,实际上,你可以‘走进’这些数字现实模型之中。在开制作会时,我们会通过插图来展示布景的环境。街道是否繁忙?有多少马车?拉车的什么马种?马车的造型如何?街上有哪些小贩?”

《沉默的天使:黑暗天使》中“报社大街”的艺术概念图,这里是第二季搭建的全新场景之一。图片来源:Pixoloid

阿蒙的团队与视觉效果团队也有密切合作,合作内容包括从建筑设计(可以用于后期制作)到布景通过方式与摄像角度的讨论,不一而足。

她说:“对我而言,这是跨部门合作最多的一次,而且这种合作并不只是一起构思,更是在实际操作层面进行合作,我们需要一起去现场观察、体验布景中的各种元素。这种合作也让我们收获颇丰。”(财富中文网)

《沉默的天使:黑暗天使》已于美东时间7月19日周日晚9点在TNT首播,时长2小时。

译者:Feb

如今,《沉默的天使》(Alienist: Angel of Darkness)第二季回归TNT电视台,粉丝们又可以大饱眼福了。与第一季(2018)一样,本季内容同样改编自卡莱布•卡尔的小说,故事将带着观众一起重返镀金时代的纽约市,跟着萨拉•霍华德(达科塔•范宁饰)、拉斯洛•克雷兹勒(丹尼尔•布鲁尔饰)和约翰•摩尔(卢克•伊万斯饰)一同调查新的恐怖案件。

第二季和第一季一样,也是在布达佩斯取景拍摄。作为一部大制作剧集,为了重塑“镀金时代”这一十分独特的美国历史时期,本季剧集汇集了一支国际化的幕后制作团队。第二季的制作设计师露丝•阿蒙告诉《财富》杂志,虽然上一季中的部分布景沿用到了这一季,但制作组还是需要制作许多新的布景,并在新的环境中进行工作。

阿蒙表示:“第一季给我们留下了很多外景拍摄场地,更妙的是,因为上一季故事的天气设定中既有阳光雨露,也有冰霜风雪,所以让每个布景都更具个性。”她又补充说,虽然之前的布景已经很棒了,但制作组还是另外加入了一些新的拍摄场景。

《沉默的天使》第一季更偏向夜间故事的风格,而《黑暗天使》中的许多场景则是在白天拍摄,因此也让许多人对新场景是否能延续上一季的风格产生了质疑。

“如何才能在中央公园或大街之上营造恐怖、阴暗的氛围呢?”为了解决这一问题,阿蒙决定从甘希沃特市场(Gansevoort Market)这样的历史保护区入手,打造所谓的“黑暗角落”,并通过“建筑物来控制光线”。

在本季剧集中,观众将会看到一些全新布景,其中包括萨拉•霍华德的侦探社、报社大街(阿蒙的最爱)、产科医院和赛勒斯的牡蛎吧等。设置这些布景的目的是为了更好地讲述本季全新的探案故事,阿蒙也一直将这一目的牢记在心,在设置侦探社的布景时尤其如此。

阿蒙说:“第一季中,(剧中角色的)活动场所是一个临时的藏身处,比较破败、昏暗。而在第二季中,萨拉在辞掉自己警察局的工作后,出来创办了自己的侦探社,这在当时可是闻所未闻的。”

为了更好地展示角色的独立性,制作团队特地搭建了一个忙碌的商业区(阿蒙介绍说,在19世纪中叶,办公楼已经开始日渐兴起)。他们制作了标牌、橱窗,还开设了许多家面向商务人士的店铺,比如销售男士正装、打字机、办公用品和提供理发服务的商店。

阿蒙说:“这些商店面向的顾客群体都是办公楼中的商务男士,而萨拉则是其中唯一一名女性。”

阿蒙介绍说,在新一季的剧集中,还有一段参加豪华舞会的剧情,“镀金年代”的女性常常通过这种方式与友人进行聚会。

在谈及那个时代的舞会时,她表示:"那时舞会的架势真的很像现在的红毯礼或类似的宣传活动。记者们围在街道两旁,成排的马车缓缓从红毯上经过,盛装打扮的人们沿着红毯走下,在相机的闪光灯中走入舞池之中。而且当时人们都是奇装异服、争奇斗艳,显然,那时的人们时间挺多的。”

在本季《沉默的天使》中,舞会的主题是“花园痴人”。阿蒙介绍说:“这场戏的原型是范德比尔特家族一名女性成员在华尔道夫阿斯托里亚酒店举办的一场舞会,当时她把所有的户外元素都搬到了室内。”而阿蒙她们则在此基础之上突出了这场舞会的色彩和“狂野”,并大量借鉴了玛丽•安托瓦内特带到凡尔赛的一些英式花园元素。

舞会的情节与这部剧集中许多更为恐怖的画面形成了对比,比如在剧中角色试图解决婴儿绑架案和偶然发现凶杀案线索时便有许多令人毛骨悚然的场景。

阿蒙承认说:“我们都得学会从剧情中抽离,清空自己的思绪,只有这样才能更好地应对这些恐怖的情节。”但她也表示,要想以不失尊重的方式讲述剧中的某些故事,就得与剧组中的其他成员展开合作,比如摄影导演和导演。“讲故事很重要。用正确的方式讲故事也很重要。”

过去这些年,阿蒙参与过许多影视剧的制作工作,她参与制作过的电视剧包括美国全国广播公司(NBC)的《英雄》(Heroes)和哥伦比亚广播公司(CBS)的《失踪现场》(Without a Trace)。但由于在构建本剧世界时在创作、研究及合作方面投入的大量工作,《沉默的天使》对她而言仍然具有特殊意义。

她介绍说:“为了展示各处环境,我们把这些内容详细的数据包都整合在了一起。搭建了许多3D模型,实际上,你可以‘走进’这些数字现实模型之中。在开制作会时,我们会通过插图来展示布景的环境。街道是否繁忙?有多少马车?拉车的什么马种?马车的造型如何?街上有哪些小贩?”

阿蒙的团队与视觉效果团队也有密切合作,合作内容包括从建筑设计(可以用于后期制作)到布景通过方式与摄像角度的讨论,不一而足。

她说:“对我而言,这是跨部门合作最多的一次,而且这种合作并不只是一起构思,更是在实际操作层面进行合作,我们需要一起去现场观察、体验布景中的各种元素。这种合作也让我们收获颇丰。”(财富中文网)

《沉默的天使:黑暗天使》已于美东时间7月19日周日晚9点在TNT首播,时长2小时。

译者:Feb

Alienist fans have something to look forward to now when the second season, The Alienist: Angel of Darkness, premieres on TNT. Like the first season (2018), this installment is based on the novels by Caleb Carr and takes viewers back to the Gilded Age in New York City, where Sara Howard (Dakota Fanning), Laszlo Kreizler (Daniel Brühl), and John Moore (Luke Evans) are investigating a new grisly case.

This season, like its predecessor, was shot in Budapest and was a large production with an international team working behind the scenes to recreate a very specific period in American history. While the crew had some holdovers from the previous season to work with, they also had to create some new sets and work with a new atmosphere, season two production designer Ruth Ammon tells Fortune.

“The first season left us a fairly substantial backlot, and one of the great things about that was it had sat in the weather for almost a year of rain and snow and sun, so it built up a lot more character into the set,” Ammon says, adding that despite that, they had to weave some new locations into the mix.

Then there was the fact that while the first season of The Alienist was more of a nighttime story, and a lot of action in Angel of Darkness actually takes place in daylight, raising some questions about maintaining tonal similarities throughout the series in a new setting.

“How do we create scary moments, shadowy moments in the middle of Central Park, or in the middle of a street?” Ammon says. She wound up pitching historic areas like Gansevoort Market as the “underbelly” and using some “architectural elements to cut out the sunlight.”

Some of the new sets viewers will see include Sara Howard’s detective agency as well as Newspaper Row (Ammon’s favorite), the Lying-In Hospital, and Cyrus’s Oyster Bar. The fresh locations help with telling new stories this season, which Ammon tried to be mindful of, especially when establishing the detective agency.

“In the first year, [the characters] were in a temporary hiding spot, 808 Broadway, and it was kind of a rundown, sleepy area. In this new season, we see Sara has left her work at the police department, and she’s ventured out on her own to establish a new detective agency, which was unheard of at the time,” Ammon says.

To illustrate the character’s independence, the production team created a bustling business district. (Ammon points out that office buildings had started to rise by the mid-1800s.) They built out signage, window treatments, and also established “businesses slanted toward business,” such as those selling men’s business clothing, typewriters, office supplies, and barber services.

“So all these things were slanted to men in offices in buildings and Sara being the lone female in this picture,” Ammon says.

At one point in the new season, characters attend a lavish ball—the type of event typical of the Gilded Age, which often served as a way for women to one-up their friends, Ammon says.

“It was really like the beginning of the step and repeat,” she says of the balls from that era, referring to red carpet and similar publicity events held today. “The reporters would line up on the street, and there would be lines of carriages and people walking down the red carpet, and being photographed in these costumes, going into these balls. And they’re ridiculous costumes—clearly people had a lot of time.”

The ball seen in this season of The Alienist has a garden follies theme. “One, it was based on—I think it was a Vanderbilt—in the Waldorf-Astoria where she brought in the entire outdoors indoors,” Ammon says, adding that they heightened the colors and “vulgarity” of it, while also largely basing some elements on the English-style gardens Marie Antoinette brought to Versailles.

The event serves as a contrast to some of the more macabre imagery seen on the series, though there is still plenty of that while the characters try to solve an infant kidnapping and stumble across a trail of murder.

“We all would have to step back and reset ourselves to deal with the specific macabre of it all,” Ammon admits, while adding that figuring out how to reveal certain plot details in a respectful manner involved collaborating with other members of the crew, such as the director and director of photography. “It’s important to show it. It’s important to show it in the right tone.”

Ammon has worked on a variety of productions over the years; her TV credits include series like NBC’s Heroes and CBS’s Without a Trace. But working on the second season of The Alienist stood out to her because of how much creativity, research, and overall collaboration was involved in the world-building.

“We would put these pretty detailed packets together that told of each environment. A lot of 3D models and actually models like digital reality models that you could walk through,” she says. “When we had the production meetings, our illustrations showed what the environment was. Was the street busy? How many carriages? What kind of horses? What kind of carriages? What kind of street vendors?”

Ammon’s team also worked closely with the visual effects crew, helping by doing everything from designing buildings that could be used in postproduction to discussing how to move through a set or which camera angles to use.

“Truly for me, it was one of the most collaborative experiences—and not just on an intellectual level, but on an actual practical level where we had to view and touch and see things together,” she says. “And that was tremendously rewarding.”

The Alienist: Angel of Darkness will have a two-hour series premiere Sunday, July 19, on TNT at 9 p.m. ET.

最新:
  • 热读文章
  • 热门视频
活动
扫码打开财富Plus App