Гуру ПесенPrometheus Q&A - Part2 | Текст песни
RS: Oh, I knew you were going to ask that question! I’d have had my little list. But actually I tend to work with one guy all the time now called Arthur Max, who’s my production designer. I’ve worked with him, since, God, I must’ve done about five or six movies with him now. It used to be Norris Spencer before that. Because I was a designer, I really enjoy the process. And so I really get into it. And so this film, before we were even green lit, I persuaded Fox to spend some smart money, in that the film was completely planned with five designers who are digital designers who can design like industrial designers. From the suits to the kitchen on the ship, to the corridors, to everything you can possibly think of, and then actually climbing into the environment. Arthur Max and these five guys sat in my office in LA, while we were writing and re-writing, for about four and a half months, and by the time I had finished I had a book which was this big and that thick of glossies that were like photographs; they’re not drawings they’re exactly what you get on the screen. So I planned the film before we then mustered and put together a huge team, because once that huge team goes together, that’s where your money runs away. And time and time again I’d get asked, ‘Are you sure? I would like to just adjust this’ and I’d say, ‘Nope, there it is’. ‘What about the light?’ ‘There it is!’ And so that became my benchmark. So it worked out economically first, as opposed to trying to work it out on the floor when you’ve got a unit of three hundred and fifty people. So designing to me is very important.
Q: How conscious were you of fusing the world of ‘Prometheus’ with the world of ‘Alien’…the derelict ship, the Giger designs, the biomechanical?
RS: You know one of the problems with science fiction, which is probably one of the reasons why I haven’t done one for many, many years, is the fact that everything is used up. Every type of spacesuit is used up, every type of spacecraft is vaguely familiar, the corridors are similar and the planets are similar. So what you try to do is lean more heavily on the story and on the characters, to make that really, to give you lift-off, bad pun! But then during the design process, I think we come up with a lot of fairly, to use that awful word ‘cool’…cool looking things which evolve from the drawing board with the designers saying, ‘I’ve seen that, you can’t do that, you can’t do that’. Then you suddenly start to come up with evolutions of different looks so that as a total package, the film feels quite different.
Q: This question is for Noomi. How does it feel for you to take on this big part? Is it a big pressure for your career?
NR: Well, you know, the first time I met Ridley it was in August, almost two years, one and half years ago, in LA. He’d seen ‘The Girl With The Dragon Tattoo’ a couple of times and he said to me that he loved my performance and that he wanted to work with me and I thought I was gonna just pass out! I don’t really get nervous; it’s not that I have many people in the world that I really admire and don’t really know how to behave around, but I thought I was gonna die. And my English was really bad, so I kinda felt like I was dreaming. And then he actually meant it! So he came back to me a couple of months later and said to me that he wanted me to play this character in his…it was called ‘the prequel to ‘Alien’’ at that time…but then ‘Prometheus’. And the magic kind of is that as soon as you step in and start to work, I don’t feel nervous, I don’t look at it from the outside, it’s almost like you’re stepping into another universe and then you don’t really reflect, you don’t judge it, you don’t think about doing a lead with Ridley Scott, how other people see it around you. You melt into that world; it’s only when you’re done and you step out that you realise there was a lot o
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