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00:00作詞・作曲 初音ミク
00:30作曲 初音ミク
01:00These were a few scenes from the science fiction horror movie Alien,
01:25produced by 20th Century Fox and filmed at the Shepperton Studios in England.
01:33Our documentary is going to show you some of my work behind the scenes.
01:40I was responsible for all the fantasy scenery in the movie and had to design the unknown planet,
01:50the wreck of the alien spaceship and its interior,
01:54and also the so-called egg silo and the different types of alien monsters.
02:01I made the first sketches and designs for the movie in my studio in Zurich
02:11after the first discussions of the project with the director, Ridley Scott.
02:17I flew to England several times where my paintings were appraised and we discussed possible alterations.
02:28These are a few variations of the alien figure I had in mind.
02:35They all emerged out of my personal visual world, which I call biomechanical.
02:44The egg silo, an unrealised project.
03:00The landscape of the unknown planet.
03:11The landscape of the unknown planet.
03:11The alien spaceship, derelict.
03:41Details and structure of the derelict.
03:55Entrance of the derelict.
04:02Passage in the derelict.
04:07Cockpit, cockpit, cockpit with the remains of the unknown being who was her pilot.
04:25The pilot's seat and the pilot in detail.
04:32Shaft with the membrane.
04:48The interior of the egg silo.
04:54Model of the egg silo.
05:00ご視聴ありがとうございました
05:30how these models are made
05:32and finally used in the movie
05:35the advantage of using plasticine
05:53is we can embed
05:53pieces of plastic pipe
05:56into the plasticine
05:58and it holds quite well
06:00areas like this
06:02we use pieces of plastic tube
06:03cut it
06:04fit it in
06:05fix it with polystyrene
06:06with nails or pins
06:08and then dress up to it
06:09with plasticine
06:10this has been painted
06:13at the moment
06:13it'll be finished off later
06:15there are more areas in here
06:20we can cut into the polystyrene
06:22we can cut through
06:23this part of the alien spacecraft
06:26is an area
06:27that was made full size
06:30on a large stage at Shepparton Studios
06:32the total height is about 12-13 metres high
06:36from here to here
06:39you get some idea of the scale
06:40that little figure there is approximately the right scale
06:43the landscape was built at Shepparton Studios
06:47some of it anyway
06:48comes back as far as here
06:49a lot more will be built
06:51on the stage here
06:53in model form
06:54which will cover a large area
06:56now we're inside Shepparton Studios
07:19where movies like
07:21The Omen
07:22Superman
07:23and parts of Star Wars
07:26were filmed
07:27science fiction scenery
07:31is usually set up
07:33in huge studios
07:35called stages
07:36here
07:38the models are built
07:40in their original size
07:41for the shooting of the scenes
07:43corresponding exactly
07:46to the previous design
07:48the basic construction
07:51of the scenery
07:52begins with steel tubes
07:54and wood
07:55then the supports
07:56are covered with wire netting
07:58and finally
08:00with sacking
08:01soaked in plaster
08:02to work out
08:04the final structure
08:05we spread a mixture
08:07of dyed plaster
08:08and a gritty substance
08:10over the finished shapes
08:12with a mason's trowel
08:13the more complex shapes
08:17are cut out of foam rubber
08:19and glued on
08:20the general feeling here
08:23is really good
08:25and it's agreeable
08:26to work with these people
08:28The tubes
08:46only vaguely defined
08:48in the design
08:49have to be integrated
08:51into the landscape
08:52and painted to fit in
08:54through the use
08:56of different smoke
08:57and water effects
08:59the final decor
09:01achieves
09:02a really mystic atmosphere
09:03and is presented
09:05as follows
09:06The pilot in the cockpit
09:30using my design
09:33P. Voizy
09:34and I
09:35sculpt the pilot
09:36in his seat
09:37out of clay
09:39Every detail
09:41is important
09:42because it has to show up
09:45well
09:46in the final mould
09:48The next step
10:13is the job
10:14for the plaster casting team
10:16who have to make a mould
10:18from this figure
10:20They're really working
10:22with terrific energy
10:24To stabilise the forms
10:27they insert strips
10:29of plaster-soaked sacking
10:31The hardened moulds
10:59have to be carefully removed
11:01and all clay residue
11:03cleaned off
11:04to guarantee
11:05a perfect resin casting
11:07The remaining constructions
11:13are also built with wood
11:16plaster and foam rubber
11:31This man is carving out
11:35these technical looking trimmings
11:37with a lot of patience and skill
11:39To create a homogenous effect
11:45of the sculpture
11:45I'm painting parts of it
11:48with a transparent sepia colour
11:51We have to use a crane
11:55attached to the ceiling
11:56to place the pilot
11:58which was built separately
12:00into the right position
12:02The work
12:04has now progressed
12:06so far
12:07that it needs
12:08only a few
12:09cosmetic touch-ups
12:11to be ready
12:12for shooting time
12:13tomorrow
12:13and tomorrow
12:13ご視聴ありがとうございました
12:43The egg, or rather eggs, we used about 120 of them for this set, are the organic repositories of the aliens in their first form of appearance, the so-called face-hugger.
13:07In the workshop, probably I had just started during a proverbial tea break.
13:17The pieces of ground on which all the eggs stand, singly, are in the making.
13:26The professionals are watching my work with interest.
13:30Probably, the realization of a design like mine is new to them.
13:35The original idea for the eggs' opening was a kind of mobile elastic slit, but the production felt that this was too directly reminiscent of female sex organs, and worried about possible censoring in Catholic countries.
13:55So we settled on a similar but crosswise shape, which satisfied both the Catholic countries and my own sense of forms.
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17:22Music
17:24Los Angeles and I then knew I was going to be involved in the film uh the thing about all these
17:31films all monster films or whatever you'd like to call it is that uh the danger is how on earth
17:36are you going to finally do it how are you going to make it okay and so that was one of the big
17:40concerns about how on earth it was going to be carried out who was going to actually design it
17:45created and I was shown the book necronomica necronomica okay um in Los Angeles in fact by
17:56O'Bannon who brought it in and I nearly fell off the desk said that's it and uh why look farther
18:04and uh so that's how I saw it it was as simple as that I've never been so certain about anything
18:08in my life and what's impressed you most about his work um again it's one of those things where
18:18I think the there are a lot of say artists in this area and um of surrealism surrealism or or whatever
18:28you like to call it and I think Giga has an extra quality of uh I think one of the most frightening
18:35things of all is a quality of reality um combined with a sort of his own form of fantasy and I think
18:44that's what makes it stronger is there is the reality not the fantasy and uh was it easy to work
18:50with him very very and uh in fact I'm hoping that uh maybe we'll do another film very soon
18:58and has the alien turned out as uh you imagined yeah I mean you always aim for the alien or the film
19:04the alien the monster the monster um uh we shouldn't call him a monster he's better than that
19:12so I think that's the first answer that uh he's better than a monster he's far more primal and far
19:18more frightening and far more realistic in a sense than the idea of the monster and so I think yes he's
19:26turned out very well better than I thought thank you
19:38my suggestions for the adult alien was generally approved by everyone the task of designing an elegant
19:48insectoid being that has nothing in common with the usual clumsy film monsters was solved
19:58but we came to the conclusion that a creature without eyes driven by instinct alone would be far more
20:07frightening that's why I painted a second version of the alien which has no eyes
20:14it's a lot easier to put down a fantasy in a painting than to translate such a creation into a costume that
20:28can be worn by a man we realized this while constructing the alien's head
20:35now and then our creation it's a conglomeration of plasticine technical parts and a skull is subjected
20:48to a very critical appraisal we're constantly feeling the pressure of losing time it has to be finished by such
20:59and such and such a deadline and this often turns the problematic construction process into a nightmare
21:08finally we've solved the technical problem the rubber mold of the alien's head is lying ready for casting
21:17in the plaster shop the mold is filled out with bits of fiberglass matting
21:25and then daubed with polyester soaked brushes according to form
21:33the head now it's finally dried
21:37has to be peeled out very carefully to prevent the delicate elements from breaking off
21:46five of these heads were made
21:54so
22:01so
22:03so
22:05ご視聴ありがとうございました
22:35I got to work every day at 8.30, my studios in B-Stage.
22:56Two wooden partitions soon became an attraction for my co-workers' friends and families.
23:05I modeled the alien costume on a plaster statue of the seven-foot-tall Nigerian bulagi.
23:21It's laborious, intricate work to fit on layer after layer of plasticine,
23:30to add in tubes, cables, vertebrae of snakes, and so on,
23:37in order to finally see the biomechanical alien from my imagination standing in front of me.
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24:37Beside its toothed, flickering tongue, this creature also ought to have a tail it could use as a weapon.
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24:55全ての存在性能が必要なものを作っているのでしょうか?
25:10全ての存在性能が必要なものを作っていることができます
25:17必要なものを作っていることができるようになっています
25:22anytime in the monster manufacturing department
25:26mike co-workers
25:27brushing lay on of the amp
25:30fluid latex rather
25:32into these holes
25:34day of the game
25:36so that they can finally extract
25:39sparkling
25:52ご視聴ありがとうございました
26:22ご視聴ありがとうございました
26:52ご視聴ありがとうございました
27:22ご視聴ありがとうございました
27:52in another studio, Carlo Di Marchi is working on the facial musculature of the monster
28:01because the creature is able to perform real movements
28:05these have to recorrespond optically to the facial muscles
28:10for this work we're using contraceptives
28:14and the guitar solo
28:40ご視聴ありがとうございました
29:10Carlo Rambaldi with his crew
29:22Probably Rambaldi's most famous mechanization is King Kong in the new movie version
29:32He was awarded an Oscar for the mechanization of that ape
29:38And he also instilled life into our alien
29:42The facial movements are controlled by hand
29:46Through wires attached to a lever console
29:50At last, the long-awaited first appearance
29:56Of the alien on the scene
29:58The alien on the scene
30:10ご視聴ありがとうございました
30:40ご視聴ありがとうございました
31:10ご視聴ありがとうございました
31:40ご視聴ありがとうございました
32:10everyone present is watching events with great suspense
32:14after the scene is shot and complete
32:39everything gets torn down rather brutally
32:43and thrown away
32:44you really have to be a seasoned
32:47professional to stand this
32:49sight without feeling some
32:51nostalgia
32:51the next producer is already
32:55waiting at the door
32:56with his contract
32:58with his contract
32:58the next one
33:06and
33:07the next one
33:10ご視聴ありがとうございました