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The Fifth Element(1997)
Director:Luc Besson
Cinematographer:Thierry Arbogast
2nd unit DOP:Nick Tebbet
Production Designer:Dan Weil
Key grip:Joe Celeste
Camera grip:Jean Pierre Mas
Stunt coordinator:Marc Boyle
Costume Designer:Jean-Paul Gaultier
Visual Effects supervisor:Mark Stetson
Creature Effects supervisor:Nick Dudman
Miniature Effects supervisor:Niels Nielsen
Visual Effects DOP:Bill Neil
Special Effects supervisor:Neil Corbould
Pyrotechnics supervisor:Thaine Morris
Luc Besson said he started writing the screenplay when he was 16, creating the vivid fantasy universes to combat the boredom he experienced living in rural France. But it didn't reach the screen until he was 38 years old; by that time, he felt he was old enough to actually have something to say about life.
According to costume designer Jean Paul Gaultier, the enfant terrible of the fashion world who once gave Madonna conical breasts, designed the futuristic costumes for The Fifth Element—more than 1000 of them. He didn't just design them, either For crowd scenes, where there might be hundreds of extras wearing his costume designs, he'd go around making adjustments to ensure everyone looked right before the cameras rolled.
According to Gaultier, Besson had lined up Mel Gibson, Julia Roberts, and Prince to play the leads in 1992, before financial problems delayed the project. (It's not clear whether any of them had officially signed on or were merely considering it.) Besson arranged for Gaultier to meet with Prince when the singer was in Paris so he could show him sketches of his designs. The meeting proved awkward (as one assumes many meetings with Prince are), and The Purple One later told Besson that he found the costumes "a bit too effeminate." It's entirely possible that the production delays would have prevented Prince from committing anyway, but it's fun to think about what Ruby Rhod would have been like in different hands. Gaultier had also unwittingly offended Prince with his description of one proposed outfit, a mesh suit with a padded, fringe-bedecked rear. Gaultier kept referring to this part of the suit as a "faux cul" ("fake ass"), but because of his thick accent, he said Prince misheard him as saying, "F-\-\- you!" Tucker has said he took inspiration from both Prince and Michael Jackson in crafting his performance as Ruby Rhod.
When filming began, the production decided to dye Milla Jovovich's hair from its natural brown color to her character's signature orange color. However, due to the fact that her hair had to be re-dyed regularly to maintain the bright color, Milla's hair quickly became too damaged and broken to withstand the dye. Eventually a wig was created to match the color and style of Leeloo's hair, and was used for the remainder of the production.
Luc Besson, an admitted comic book fan, had two famous French comic book artists in mind for this movie's visual style when he started writing the movie in high school, Jean Giraud (Moebius) and Jean-Claude Mézières. Both artists have long-standing comic book series in France. Moebius is best known for "Blueberry" and the (French) Magazine and (U.S.) movie Heavy Metal (1981). Mézières is best known for the "Valerian" series. Both series are still in production today. Moebius and Mezieres, who attended art school together but had never collaborated on a project until this movie, started renderings for this movie in the early 1990s and are responsible for the majority of the overall look of the movie, including the vehicles, spacecrafts, buildings, human characters, and aliens. However, only Giraud is credited, and even then, he wasn't even granted a premium when the movie was eventually produced.
Some of the most memorable moments from the film are views of a future New York, complete with flying cars and a mass of new and old skyscrapers. The film was one of Digital Domain’s huge miniature shows released that year – the others being Dante’s Peak and Titanic – while also heralding the fast-moving world of CGI in the movies. The New York scenes were created using a combination of CGI (for the flying cars), live action (the people), and scale models (the buildings). A crew of 80 on the production design team spent five months building dozens of city blocks at 1/24th scale.The visual effects for The Fifth Element were realized with a masterful combination of motion control miniatures, CG, digital compositing and effects simulations by Digital Domain. The flying traffic created by the visual Effects team allowed artists to create personalized license plates. Though never visible in the movie, the state slogan printed on all license plates reads "New York, The F***-You State."The people populating the roofs, decks, and windows during the visual effects sequences in New York City are the artists and employees at Digital Domain.
The text scrolling across a Times Square theater marquee as Korben dives down through traffic is actually an excerpt from an e-mail dispute between several artists at Digital Domain. Other signs on digital and practical, miniature buildings contain similar in-jokes and references and the large cylindrical tanker truck that Korben's cab almost hits at the end of his descent is decorated with the logo of a Venice, California, pizza parlor that was a favorite of Digital Domain artists.
‘You know, Mark, I don’t want to do these ‘fancy panning around and seeing the whole world shots’. I’d much rather set a camera looking down a street, having a cab rush towards me, and cut as it passes by, and then cut to a reverse of it passing by, and construct my film that way.’ – The Fifth Element visual effects supervisor Mark Stetson relates what director Luc Besson said to him about staging the film’s New York City shots.
This was Mark Stetson’s first visual effects supervisor role, this is what he had to say about it in a VFX blog article
Mark Stetson: I wasn’t afraid of the size of it. I didn’t think it was huge at the time. I mean, it was sort of standard tent pole-ish at the time and I was confident that I could do that, but it was my first one and there was a ton I had to learn, especially about digital visual effects. And I was very supported by Digital Domain. It was Digital Domain 1.0 back then, and they really gave me a great team. It was a great experience all around.
During the prep period, cinematographer Thierry Arbogast worked extensively with production designer Dan Weil to integrate various lighting units — primarily fluorescent and occasionally ultraviolet fixtures — within the sets themselves. More often than not, the futuristic spaces dictated the types of fixtures that could be used.
Arbogast had some challenges on the film he said this about the opera scene.
“Most of the lights you see in the opera house were already there. The difficulty was in lighting the people in the audience without illuminating the white facades of the balcony. Therefore, we used a lot of flags to focus our lighting precisely on the people.”
Gary Oldman played Zorg as a cross between then-Presidential candidate Ross Perot and Bugs Bunny.
In most shots of Gary Oldman, there is a circle around his head. In fact, a circle in the middle of the frame is a nearly constant motif in this movie. Bruce Willis, on the other hand, is more often framed by a rectangle or doorway behind him.
In keeping with the hands-on approach Besson established on Le Dernier Combat and has practiced on all of his successive films — Subway (1985), The Big Blue (1988), Atlantis (1990), La Femme Nikita (1991) and The Professional (1994) — the filmmaker operated the camera himself throughout the entire shoot. While such a working situation is rare for directors working within the Hollywood system, Besson prefers it because he can maintain better control of the onscreen action. "I create the frame and the movement within it," he explains. "Why lose time explaining everything to someone else? He's going to be slightly off, and then I'm going to freak out and say, 'No, this is not what we discussed. I want the camera here!' So it's better for everyone involved if I just do it myself.
"I write each action scene as if it is a ballet; the movements fit with the music. Generally, I'll shoot a fight sequence for 10 days using just one or two cameras and a very small crew. I've already written out the fight scene in my head, shot by shot. I do this for each and every sequence so that we can just shoot it, and then put the scene together in the editing room. At the same time, when you're on the set, you can have an idea at the last moment; you realize that from a different angle the light might be better, so you change the perspective [of the shot]. But I'll always write down and block out this [new] progression."
The explosion in the Fhloston main hall was the largest indoor explosion ever filmed. The resulting fire almost went beyond control. It took twenty-five minutes to put out.
At the time, it was the most expensive movie ever produced outside of Hollywood, most expensive French production history, and at $80 million USD, the visual effects budget of the movie was the highest of its time.
The wonder on Bruce Willis' face when the Diva sings is real. That was the first time he'd heard it and seen the actress in full make-up.
Bruce Willis, Milla Jovovich, Chris Tucker and Gary Oldman are all left-handed.
The director had been married to Maïwenn Le Besco, who plays the Diva Plavalaguna, since 1992 (when she was 16 and he was 33, but that's another story). She didn't want to be in the film, adhering to the old adage that married people shouldn't work together and co-workers shouldn't marry each other. But when the actress Besson had cast as the Diva dropped out, Le Besco took the part got painted blue and gave a memorable performance. Alas, Besson didn't share his wife's policy of not mixing work with relationships. He left her during the production for Milla Jovovich, whom he married at the end of 1997 and divorced two years later... then that happened
From Mental floss,vfx blog,ASCmag article,IMDb,YouTube visual element doc.
同時也有1部Youtube影片,追蹤數超過15萬的網紅pennyccw,也在其Youtube影片中提到,Vince Carter lost his personal battle with fellow superstar Allen Iverson, but the Toronto Raptors won the war thanks to Keon Clark. Clark had a...
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Almost every Christmas, my family and I spend our holiday watching movies.
A particular favorite is Die Hard, the iconic Bruce Willis film that sees the Hollywood tough guy rescue hundreds of hostages from a skyscraper taken over by terrorists.
Not an entirely believable film, but fun. It has some great one-liners.
Usually this holiday movie watching time is quite fun, except for when someone wants to see a film with technology in it.
When it comes to some movies, any time they show tech, they almost invariably get it wrong. Someone, usually me, starts yelling at the screen... "That CANNOT happen!" or "Seriously?!?"
It kind of takes the nog out of the egg nog, if you know what I mean.
There are some movies that actually get technology right, however. Here is a list of them.
Movies That Actually Got Tech Right: https://au.pcmag.com/features/52972/10-movies-that-actually-got-technology-right
But what I'd really like to show you is a personal favorite tech-themed movie, because of what it teaches us about the founder mindset and serendipity. I always like to say that the founder's mind is planned luck.
In "The Imitation Game," we see this clearly.
"The Imitation Game" is the depiction of how Alan Turing and fellow computer scientists broke the cryptographic code that the Nazis were using to send their war plans to each other. This discovery helped end the war and saved Britain and the rest of the world from unimaginable suffering.
What I think this gets right is that as a founder -- or a discoverer or adventurer -- you have to put in a lot of demanding work, and personal sacrifice, to prepare your mind and your product or startup for the simple and elegant answer that makes it work.
You cannot just think the answer into existence.
You have to create a framework.
You have to suffer through the empirical search and discovery.
You have to experiment.
You have to fail at it.
You have to personally go through hell.
In order to....
Achieve an answer that is simple because you created the framework to see it simply.
This Christmas, I leave you with this video clip of the moment that Turing cracks the code. What he relied on to reach that magic moment seemed so stunningly obvious.
But had he not done all the legwork, it would have never mattered.
Merry Christmas
https://youtu.be/zZuqLLdx2YQ
Doug Crets, English Communications Master
AppWorks
work it willis 在 柏霖 PoLin Facebook 的精選貼文
《漩渦裡的無限 FIGURE 8》 終於是正式上架!Finally Out!!
第一次發表作為一個唱作人的原創作,這個獨立製作的EP專輯,從一個念頭,研究,到自己累積的創作裡面找歌,聯繫合作對象,和製作人康惟安排各方時間,討論,練習,錄音,後製討論,無數封的跨國跨時差的emails檢討改進,前後花的時間是兩年,我的積蓄大概也都花在這整過程裡面,但我學習到非常多,從一個素人到執行這項製作到完成,我要特別感謝鋼琴家黃裕翔,音樂製作人呂康惟,朋友李佳穎,也想在這感謝在這項製作裡面給予過我學習機會,指點我,給我信心和參與其中的人們,你們富饒了我靈魂的厚度,讓我此刻的生命有了些意義和美好。
I am so very delighted to share this exciting news! My very first self-produced independent EP album 《FIGURE 8》in collaboration with Kang Lu and Yu-Siang Huang is officially out now on all music platforms, and it is the first time I put my work out there as a singer/songwriter. Thank you for all who are involved. You are my angels!!! I couldn’t complete this project without your kind, encouraging words and trust. I am very grateful 🙏🏼
謝謝你黃裕翔,呂康惟,李佳穎, 郭一豪,強力錄音室,李懷珍,陳志翔 ,鄒武晉,游又臻,洪婉寧, 董秉軒,林章閔,林家豪,董駿森,女巫店,Alex Bristo, Daniel Lelchuk, Kie Willis, Fukiko Takase, Studio Wayne McGregor, Pipi Yao, Faye Chen, Michele Occelli, Kimber, Faye Hsu, Rachel Chen, Nobita Ling, Hayden Jared, DOUCHANGLEE, Mathew Prichard, Soundscape, Aslan Steel, WIND, Freshman music magazine.
謝謝天使們。沒有你們的信任和支持我是無法完成這項任務的。任務終於是告一段落了。 🙏🏼 希望所有的聽眾可以找到共鳴,可以讓與我在寫歌當下一樣困惑,迷惘,情傷,感性的聽者,找到答案,安慰或是引發深思。無限,是我對生命的一種想法,它代表一種永恆,一種超然的存在。漩渦,是我們在這永恆時間軸上小小的駐足,也代表著我們身為人有限的時間。我常問自己,該如何在這身為人有限的時間裡,去學習體驗到那些所謂的永恆?透過寫歌唱曲,記錄那些看不見的情感情緒,心裡面的聲音,遇到的人,事,體悟到真相或是和自己的深度對談,這是旋渦裡的無限。
在以下的平台就可以找到這張小EP !
iTunes|Apple Music |Spotify |myMusic |friDayMusic (Omusic) |網易雲音樂 |Baidu 騰訊音樂娛樂集團(QQ,酷狗,彩虹)|Xiami |MOOV |Instagram|JOOX Music |One Pandora |YouTube Music |YouTube (Content ID) |KKBOX |Amazon |Google Play |Shazam |Tidal |Deezer
原創唱作人:PoLin 柏霖
音樂製作人:呂康惟
鋼琴:黃裕翔
吉他手: 郭一豪
大提琴手: Daniel Lelchuk
寫詞合作人:Alex Bristo
客串演唱: 李懷珍
專輯封面:Nobita Ling
錄音/混音:陳志翔
混音室:Come Together Studio
錄音室:強力錄音室
https://www.soundscape.net/a/5193
work it willis 在 pennyccw Youtube 的精選貼文
Vince Carter lost his personal battle
with fellow superstar Allen Iverson, but the Toronto Raptors won
the war thanks to Keon Clark.
Clark had a season-high 23 points, eight rebounds, four blocked
shots and sparked a furious second-half comeback as the Raptors
overcame 51 points by Iverson in a rousing 110-106 overtime
victory over the league-leading Philadelphia 76ers.
Toronto starting center Antonio Davis left the game in the first
quarter with a sprained left ankle, forcing Clark to play a
season-high 39 minutes off the bench. Acquired from Denver on
January 12 in the deal that sent veteran forward Kevin Willis to
the Nuggets, Clark quietly stole the show from two of the NBA's
top scorers.
"We're excited about (Clark)," Toronto coach Lenny Wilkens said.
"We're trying to work in as quickly as we can, and show him
something different every day, and he's just gobbling it up.
He's excited about being here and I thought that was just an
incredible job he did to step in for (Davis). We went to him
several times because we wanted him to know we had confidence in
him. He did a great job."
After helping Toronto eclipse a 20-point first-half deficit,
Clark watched helplessly as Iverson fueled a 17-0 Philadelphia
burst with 11 points, leaving the Raptors with an 89-78 deficit
with 8:47 left in regulation.
But the 6-11 reserve pivotman responded with a free throw and a
basket, pinned what appeared to be a sure layup by Iverson to
the boards and sank a 15-footer that drew Toronto within 93-92
with 1:55 remaining.
![post-title](https://i.ytimg.com/vi/rWLPO78Atyk/hqdefault.jpg)
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