Compared to Linmu, Gao Ang is a younger generation. In his early 30s, he led the art team of "The Wandering Earth" and took a small step in the art work of Chinese science fiction films.
Gao Ang is not an art major, but is fortunate to be the art director of The Wandering Earth. Devotion is the motivation to focus on work, and the cultivation of a new type of team is the basis for making science fiction films. In the past few years, he has worked hard to complete one arduous task and challenge one after another.
He was responsible for the art work of "三体" , but the project was interrupted. At that time, Chinese contemporary sci-fi movies were almost blank. Although the journey was bumpy, it was a lot of trouble, and accumulated experience and strength for the future success of "Wandering Earth."
took the "Wandering Earth", he said that no one has full confidence in success. "All the staff members have only one belief under the leadership of the director, which is to bury their heads in perseverance and to complete the film smoothly. It’s the greatest luck.”
The art design of "Wandering Earth" has its own particularity, and it must use industrialized production methods. In addition to traditional film artists, professional product designers, transportation designers, architectural designers, media designers, etc. must be introduced into the actual design and production of the film. This is the most important aspect of creating a science fiction film. weight.
郜昂忆， This art group with an average age of less than 30 years has worked for the film for more than three years. Like the director 郭帆, the longest working day is up to For more than 20 hours, "Everyone worked hard. Seeing that the director had finished filming and editing, he could only sleep for two hours a day, and then got up and started work again. In this case, every staff member was very motivated. ."
The success of "Wandering Earth" is inseparable from the efforts of all the staff in front of and behind the stage
They do not pursue high-concept and forward-looking science fiction art content, but do their best Realistic disaster scene, minimize the audience's translation time on the visual level when the image is conveyed. At the same time, they pay great attention to details and want to make the actors and audience believe in the existence of the future world in this story.
The space capsule in "Wandering Earth"
In the main scenes of Beijing No. 3 underground city, the inner and outer environment of the planetary engine, and the "Tinder" space station, review the production process, Gao Ang believes that although the "Tinder" space station is the most time-consuming and labor-intensive, it is the most effective part of the whole movie because it splits the scenes more carefully than other scenes and has a longer average production cycle. And what he regrets most is the production of the dungeon. "The scene is large, the production cycle is short, and the detailed design is not complete enough."
The engine in "Wandering Earth"
The limitations of time and funding make the art team often face challenges. Gao Ang said frankly, "We are solving difficulties every day! No experience can tell us what to do, how to build spacecraft, how to use materials, how to control the effect of metal paint, how to balance craftsmanship and cost, etc., Everything is crossing the river by feeling the stones."
Of course, the lack of production experience is constantly revealing the problem. For example, in the production of spacesuits, due to insufficient cost, many designs cannot be restored. Even if the design content is reduced, there is still a lack of reference samples and detailed support.
At that time, Director Ning Hao lent them the spacesuit produced by the "Crazy Alien" crew abroad for research. Gao Ang revealed, "If this spacesuit is not provided for us for development, eventually It is impossible to achieve the level of detail presented in the film.”
In addition to the help of colleagues, the entire crew is also twisted into a rope and cooperates closely with each other. "The whole team is an art team", this is a particularly interesting place for the "Wandering Earth" crew, he explained, "because the entire crew of the crew is especially helpful to the art department, there are no disputes or contradictions, everyone works together to makeThe film is better and harder. "
Speaking of art style, Gao Ang frankly frankly does not have a particularly strong demand for pure art level expression, "I don’t like special art art, and I will not express too much visually. And interpretation, just right is often the most difficult. ”
He prefers to hide the art in the scene, keep it in harmony with the environment, try his best to make the scene and the scene smoothly related, and focus more on the actors. not only "The Wandering Earth "This is the case, as is the case with "Win the Championship" in "My Motherland and Me", which he collaborated with Director Xu Zheng.
"Win the Championship" focuses on Shanghai in the 1980s, looking back from the perspective of the little boy and the neighborhood of the lane The moment when the Chinese women’s volleyball team won the Olympic Games in 1984.
Gao Ang and his art team did not experience life in Shanghai in the early 1980s, but in order to restore the historical outlook, they consulted a lot of information and learned the details of life at that time. In the old alleys, we recycle old things such as pots and pans, commoners, curtains, etc., try not to have problems with visual information, and restore an authentic old Shanghai alley style from the level of food, clothing, housing, transportation and alley morphology.
He described himself as a particularly rational person in "My Motherland and Me" "Winning Championship"
He described himself as a particularly rational person, and he was also very cautious on the set. "If you don't finish the scene, everything will be fine, and the shooting process will be more stressful. I basically follow from the beginning to the end, and I may only breathe a sigh of relief after the photo is taken. "
Gao Ang knows that he still has many shortcomings. At present, he has set up his own studio. He hopes that more professional talents will join and work with more good designers and artists. He is looking forward to it. In the future, there will be a more systematic management process and industrialized production process, creating new possibilities and new looks for domestic film art.
