Name: フォレスト・ガンプのプロダクション・デザイナーがダン中尉の最初のシーンを破壊する｜Vanity Fair (Forrest Gump’s Production Designer Breaks Down Lt. Dan’s First Scene | Vanity Fair)
Uploaded: 2021-01-14T10:06:28.000Z
Duration: 11 min 51 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

I was a production designer on Forrest Gump, and I'm gonna give you one scene breakdown of when Bubba and Forests come to Vietnam.

My process, I would guess is, is a collage artist.

I do a lot of research for this particular movie.

This was a reflective of my own life and times.

So I knew about the era that we told the story of the Vietnam era civil rights era, the growing up in the sixties.

The first thing is that you're getting a wide view of what you think is rice Patties and the silhouette of the Hueys, the Huey's air.

You immediately know that you're in Vietnam.

The first thing that I would say about this frame is that it's an iconic image from Vietnam, because it basically gives you the silhouette of the Huey and Dale Dye was wth e military advisor on this.

He's the one who helped us set up the camp to be exactly the way it would be in this kind of context.

All of this kind of prop ege that you see here with equipment they have here.

Every aspect of this is based upon the way it would be in a riel camp in Vietnam, because Dale Dye it had that experience.

He'd also been the adviser on platoon, and the number of movies had portrayed the Vietnam War.

Up to that point, I think the main part that makes you feel like you are in a place that could be Vietnam is basically the horizon here of what you think is rice fields these air Not really Rice field.

This is a delta that actually floods so that it actually has this kind of look.

Now they told us that Vietnam was going to be very different from the United States of America, except for all the beer cans on the barbecue.

It looks like it could be a barbecue in South Carolina because it's actually what it iss.

Once we found where we could build for US House, then we had to branch out from that area, unfortunately, were able to find places even close to where the house was, and then many others in that local area that we could stage is Vietnam.

And what's the first thing you see is the ultimate product placement hit nom Coca Cola, Budweiser, Falstaff beer.

And we've got a very basic situation here, where we're setting up things that you can identify with us an audience as little tableaus.

You know, the barbecue, the card game, the beer that hanging out, and these walkways which basically take you throughout the scene because his part would all be flooded and then in the background in addition to this was just like I think this is one of the outhouses with water would filter down here is actually then have these helicopters going through.

So there's a lot of activity in the frame.

But all of these, this one and all of these are actually put in later with computer graphics.

We had to actually bring in palm trees, tow the battlefield on this set so that there was Maur that would convey that tropical feeling of being in Vietnam.

And that's a big deal, actually, because you've gotta bring in, you know, full scale palm trees, either forklifts or a crane and then dig around for the base to get them in there and to make sure that they're going to stand up.

One of the things that is very important and it seems like this is to give a sense that this isn't designed.

It actually is, Ah, place that you really would see people in an organic way.

I immediately drawn, of course, to the characters, but also this sign here.

It's something that said specifically later, Forrest says.

I dont may not know a lot, but I think that we had some of America's best young men here, along with all the you know, just the setup of the camp with the you know you've got the tents and you got the radio here.

So everybody, you know it's a tableau on one level or another is actually relating to something, whether it's something they're eating, drinking plain or in this case, listen to music.

And remember, in this sequence you're hearing music in the background so that radio is actually giving you a source for that music you're actually hearing.

If you've noticed so far from their point of view as they move forward.

You're just moving into the scene towards the first encounter with someone who's gonna be as important as Lieutenant Dan in Forrest and tow us just truck all the time.

The most important thing in this frame is this.

This is pretty important, too, because that that that Cigar sets up Lieutenant Dan's character.

And now the first thing out he comes upon these two guys and this is the introduction, you know, obviously to Forest Bubba.

But the things that are really the details here are the cigar, the fellow paper, his dog tags.

And I think that that's what makes that shot actually work.

The rest of it is, you know, you know you're in a camp.

There is one item of G I gear that could be the difference between alive socks.

I'm very aware of the production designer that the reason people go to movies is who's in it, what's it about?

And the background actually is the background.

If you know that people are working hard to create a background that takes you out of the movie.

So actually, it's a magic trick to do something that people don't notice because it feels like it's the right thing to be.

There just happens to be the exact right place for those scenes to take place.

Otherwise, it could look like this could just be a blank wall.

But everything you see in the frame is actually either going out somewhere or putting something there.

It could just be this guy reading the hot red magazine, having a beer.

You know, we do certain things we might bring in this palm tree.

We bring in this tropical foliage, but really the ideas to give a overall feel with the vehicles, the movement, the people that you are somewhere that you believe you're supposed to be.

He was from a long, great military tradition.

Somebody in his family had fought and died in every Sango.

So this is a four shot montage to depict what Forest knows later about Lieutenant Dan.

The simple way to do that, of course, is number one toe.

Have the person who is dying in each war look like Lieutenant Dan because it's played by the same guy.

But he's also falling in the ground and iconic locales that you actually could recognize as being part of the war that the people would actually know about sort of through collective memory.

Washington crosses a villa where in the winner, And that's why it's no.

These were just actually shot, as it turned out, on a rooftop with four different tableaus where Gary could then fall into and actually die the four times that he does when he's representing his ancestors.

We move on to the next American War, which is the American Civil War, and Lieutenant Dan.

It's a Northern fighter, and he's dying of cannon down.

And here in this scene, you've got World War II and you've got the mud of the trenches in the battlefields in France.

And you've got always indications that there's other people around who who died, even though he's a very big quick hit, is a flame thrower.

There was a lot of interesting properties that went in just to give you a little hit, but none of it is actually designed to look absolutely real in this frame.

It gets closer, and it's a bit, in a sense, more personal dine on the Beach D Day.

This is I remember so that he could fall.

But you don't want everything shake like that.

It was very simple set up, and it was actually, I think all of these were done at night.

It's a a succession of images that are that are not designed to be so heavy that it takes you out of the movie.

It's a part of forests memory to tell you this, but it's actually something he could never visualize.

Other than this kind of very simple way like you, almost looking a textbook of somebody telling you that we fought in four wars.

Lieutenant Dan's gotten to where he needs to get its place.

It's totally open with center of this camp.

All the privacy is broken down between everybody, and that's part of this whole scene, which is?