在BlackkKlansMan科罗拉多斯普林斯市警察局。
在BlackkKlansMan科罗拉多斯普林斯市警察局。 由Curt山毛榉
名人的风格

斯派克·李的制片设计师如何BlacKkKlansman重现1970年代的科罗拉多斯普林斯

制片设计师Curt山毛榉告诉广告的三个不同的世界,他创造了斯派克·李的新电影BlacKkKlansman

BlacKkKlansman,斯派克·李的最新电影,罗恩(由约翰·大卫·华盛顿)——该嫌疑人黑人侦探在科罗拉多斯普林斯,科罗拉多州,警察局在1970年代渗透三k党通过一系列奇怪的和真正的活动全过程设计师Curt山毛榉创建了三个截然不同的世界:警察区,这是设置大约20页的110页的脚本;该嫌疑人的公寓;和当地的三k党成员的家里Felix Kendrickson (Jasper Paakkonen)。后者几乎可以被视为两个不同的世界,房子的楼上是夫妻的日常居住,在地下室的居住的三k党成员在工作。

山毛榉和位置管理器后,蒂姆•堆垛机Ossining定居,纽约,子在科罗拉多斯普林斯,山毛榉必须工作在他的下一个挑战:找到警察选区。”在纽约的选区是很难找到的,因为有那么多警察表明在纽约拍摄,”他解释说。“所以我们需要构建一个阶段。”Custom building, although usually pricier, is a better way to check more boxes on a list of criteria, and as the precinct, where both Stallworth and fellow detective Flip Zimmerman (Adam Driver) work, is a big part of the movie, it was important to get it right.

罗恩,该嫌疑人的家中BlacKkKlansman。

大卫李

虽然这部电影的背景被设定在1970年代早期,山毛榉不一定要每一组反映相同的时间表。例如,“警察环境需要整容,“山毛榉解释说,并补充说他感觉更反映1960年代。“这是变老;染色和挠。我们建立了区非常干净,然后花了很多时间敲下来,并让它感觉更住在。”Stallworth, who is initially depicted as a modern man, lives in a place that reflects that style—expect to see bold, clashing patterns and lush carpeting in his home. And when he goes to work at the precinct, Beech explains, "literally, Ron is entering a physical world that's more stained." Lee introduces the audience to the young African-American detective, as he's being interviewed to be the "Jackie Robinson" of the local force. "Ron is the enlightened man in an ignorant world, so his environment is hipper, cooler, and smarter. It shows his integrity and sense of purpose, and how he is connected to the present and future," explains Beech.

Felix Kendrickson的家。

大卫李

三k党成员Felix Kendrickson家也同样反映出他的性格。相比之下,”菲利克斯是世界进步的无知的人。他的停滞不前和冷冻过去,他无法超越。他向后看,”解释了山毛榉。“我的想象,这不是他和他的妻子的房子;这是他们的父母的房子里,他们生活身体上的甚至在过去,所以感觉过时了。这肯定不是像罗恩的酷和臀部。”To get this point across, "the textures and colors, and wallpaper choices lean towards the ’50s, and it feels stale."

不过,他希望Kendrickson房子“不错”。Beech explains: "It's not a bad place to live. That was another important thing for me: not to show these people as rednecks. But the things going in the basement are not normal." Below the surface—rather quite literally—is evil at work. "There's a mimeograph machine down there, there's a telephone, there's a desk," says Beech. "They were working down there. They would have had a couple of servers down there if it was modern times. And there's the point we were trying to make with his environment."

Felix Kendrickson的地下室里的家。

大卫李

作为一个整体,山毛榉,曾与李她要拥有它,说:“对我的关键词是“真实性”。This includes a focus on the minutiae, "down to when the mail on the table is period-correct, and when the papers on the table have the right label on them." Beech says this helps the actors focus on their characters, but there's an additional reason that Beech pays such close attention to detail: He's learned from working with Lee in the past that anything can end up in the shot. As Lee improvises, the background decor can end up in the foreground: "There were a couple of places I never intended for him to shoot; it was just intended to be background. But of course, he shot some big scenes, so I know better than to not finish something."

这意味着period-appropriate照明,甚至天花板。他们可能出现在屏幕上是如何考虑。事实上,山毛榉说天花板和照明的选区是一个更昂贵的电影事业。“我觉得观众应该查!”Beech laughs. "They won't, and they shouldn't; but we did spend a lot of money making sure it's correct."

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