Name: ブラッド・ピットが『アド・アストラ』で月を追う姿を見る｜アナトミー・オブ・シーン (Watch Brad Pitt in a Chase on the Moon in ‘Ad Astra’ | Anatomy of a Scene)
Uploaded: 2021-01-14T10:37:06.000Z
Duration: 4 min 13 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'm the co-writer and director of 'Ad Astra.'

過去完了形

We had thought for a while about what the moon might

and what it would take to settle the moon

and how we probably wouldn't be able to settle

So we tried to conceive of a sequence, which illustrated

the chaos of what it might mean to adhere to treaties

about certain parts you couldn't go to the moon,

And so we created an action scene around that concept.

The goal for the scene was really twofold, I'll say.

One was to have it play as a very subjective experience--

to sell the kind of one-sixth gravitational pull,

but also to illustrate what it means when there's

"But it was really our attempt to extrapolate, to think about

essentially what it would mean to settle territory

peacefully in the entire history of the human race.

So why it would be different on the moon?

the issues are how to shoot a stunt safely

But this represented some very weird, difficult challenges,

Additionally, how to make sure that it looked like the moon.

So my first idea, which of course is always wrong,

And we will then figure out a way to color time

And then we'll take the color out of the sand,

Well, what we wound up doing was shooting

And it presented huge and almost impossible

So all of the surfaces turned out to be useless.

The second was that the sky, sometimes had clouds

with an infrared camera, which would turn the blue to black,

it still didn't turn it all the way black.

So the sequence had to be almost like visual effects,

heavily augmenting the practical stunts that we did.

And then, of course, there was the attempt

we experimented the different frame rates for the film.

And ultimately, we decided between 32 and 36 frames

per second as opposed to the usual 24 frames

what our experiences of what one-sixth gravity would look

And may I say that the strange fact of the scene

is that when we had to replace all of the surface

and get rid of the desert, get rid of the vegetation,

we found ourselves using the very high-quality Hasselblad

photographs that were taken on the moon in the Apollo

and you cut around the shape of the Rover itself.

And the replacement background was the photographs

of the moon that were taken over a 20 to 30 year period.

zooming past the wheels is a series of lunar photographs.