這可以說是現象級的場景概念圖了！

最新 07-14

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無意間看到電影《阿修羅》的概念圖

4年前畫的……

來自魏巍男VVnan

（站酷ID：魏巍男VVnan）

草圖由Oscar chichoni和Keith tompson繪製的

魏巍男VVnan負責上色

概念圖簡直驚艷了，對於電影《阿修羅》美術總監奧斯卡·契柯尼（Oscar Chichoni）更是充滿了好奇！因為他的經歷實在是太豐富了。

嘉賓簡介：

義大利裔阿根廷設計師。他在過去幾十年里為無數全球知名刊物創作封面與插畫。此後他又與弗朗西斯·科波拉、彼得·傑克遜、吉爾莫·德爾·托羅等在電影領域合作。他參與的電影《亂世情緣》獲得了1995 年奧斯卡最佳美術指導獎。近年還參與制作了《加勒比海盜4》《環太平洋》《環太平洋2》《猩紅山峰》等多部電影製作。2016年，他參與由張鵬執導，吳磊、梁家輝、劉嘉玲領銜主演的奇幻動作電影《阿修羅》，擔任美術總監。

日前「尋找阿修羅王—電影《阿修羅》三頭欲王同人主題海報大賽」在站酷網的徵集活動已經結束。站酷網受邀專訪《阿修羅》電影美術總監奧斯卡·契柯尼（Oscar Chichoni），這位設計師，插畫師和電影藝術工作者和我們聊了聊他的電影美術之路和《阿修羅》電影背後的故事，他希望大家能被現象級的場景設計驚艷到。

《阿修羅》電影海報

站酷網：很驚訝您是通過自學掌握了人體解剖學，利用顏色和光線等等專業問題，能聊聊您的自學經歷嗎？您認為自己是一個有天賦的人嗎？

契柯尼：是, 我是自學的, 但我當時做的是類似於早年西方古典藝術學院會做的那種個人研究，現在已經沒有這種學院了。在那些學院里，人體結構、構圖和色彩是學習根基，這些仍是當今具象藝術的基礎，比如電影與遊戲里的插畫、設計。一個優秀設計師的重要能力是要懂得如何流暢地作畫，而人體結構大概是學習繪畫中最重要的一環。畫面構圖和色彩也是同等重要和複雜的學問。我認為自己是一個有才華的人嗎？我自己不敢這麼說，但是我得過不少國際獎項，這些評委們是認可我在這個領域裡的才華的。

Chichoni：Yes, I am self-taught, but I did personal studies similar to the western classical arts academies (which no longer exist). In thise academies, the study of anatomy, composition and color were fundamental and remain fundamental in the current figurative arts such as illustration, design in film and videogames, for example.The key ability of a good designer is to know how to draw fluently and the study of human anatomy is perhaps the most important thing to learn to draw. Composition and color are equally important and complex studies.If I consider myself a talented person ?. Well, I could not say, but I have many international awards from juries that did consider me a person of talent in the sector.

以往作品：Vehicles—Film&Video Games(圖源自官網)

站酷網：您畫過漫畫，畫過封面插畫，也為很多電影和遊戲做概念設計，美術指導，辦展覽，不同的藝術門類在你看來是觸類旁通的嗎？你認為一個藝術家應該更多接觸不同的藝術門類嗎？

契柯尼：我的這些經歷都在我的作品演變歷程里。我17歲時開始與一些有名的漫畫家一起畫漫畫，做得還算不錯。但是因為我想進一步了解色彩與構圖，所以我轉到油畫，畫了兩年。然後，結合漫畫與油畫的經驗，我開始畫插畫。我管我的風格叫「敘事插畫」，因為可以用一張畫講一個故事。我以插畫師的身份在不同的國家裡磨鍊了許多年。後來我在遊戲產業里當過概念設計師和美術指導。當時，我的優勢是，因為之前學習漫畫，我了解視覺性故事的多樣性，又因為畫過油畫和插畫，我熟悉怎樣在一張圖裡就能表達想法。而我在遊戲產業里獲得了大量經驗，包括完成一個完整的項目設計和領導藝術創作團隊。當我終於進入影視行業，因為其多樣性和注重視覺的屬性，我再一次用上了先前漫畫、油畫、插畫、遊戲的經驗。從中，你也可以看出這幾個行業之間是有共通之處的，並且我覺得每一個電影藝術的同行都會經歷類似的過程。在我的電影工作中，其實我每天都能體會到我在這幾個領域裡的經驗給我帶來的便利。

Chichoni：The evolution of my work includes all those experiences. I started when I was 17 years old doing comic with famous artists and I did it very well.But I wanted to make a deeper experience about color and composition, so I left the comic and did two years of painting.Then match my comic experience with my painting experience and that"s how the illustration appeared. This was a way of telling a story with a single image, for that reason I call my style "narrative illustration".This profession is something that I have practiced for many years in several countries.Then I worked in videogames as a concept designer and art director. My advantages were that I was familiar with the dynamism of a visual story because of my experience in comics and with the representation of an idea in a single image thanks to my knowledge in painting and illustration, but there I made a lot of experience in the complete design of a project and in the direction of an artistic-creative team. I finally started working in film, and because of its dynamism and the importance of the image in this media, I once again used my previous experiences in comics, painting, illustration and videogames.As you can see there is a common line in all these disciplines and I think that every figurative artist should go through a similar process, although not necessarily identical. In my film work I can see every day the advantages of knowing all these sectors and being able to apply them.

以往作品

站酷網：美術總監在一個電影里的職責和角色是什麼？

契柯尼：美術總監的職責是創造出讓一部電影獲得高辨識度的視覺畫面，建立劇情需要的美感，風格，戲劇效果。每個場景都要有他背後蘊藏的含義，另外，在電影里沒有一個場景或風景的設計是隨意為之的，就像在一幅好畫里，不能出現任何多餘的元素。

Chichoni：The rol of aPD is to create the image that will be the recognizable feature of the film, establish the aesthetic, the style, the dramatic tone that the story may contain. Each scene needs a metaphorical treatment, in addition nothing is casual in a scenography or a landscape, not any unnecessary element should be added, as in a good painting.

站酷網：您參與過很多電影創作涉及很多電影類別，和很多優秀的電影人合作，《亂世情緣》《加勒比海盜4》《環太平洋》《環太平洋2》等，這些優秀的電影和《阿修羅》有什麼不同嗎？

契柯尼：《阿修羅》和我以前參與的科幻、歷史或恐怖片都不一樣。這是一部史詩般的故事，對我來說設計方面複雜度很高，因為裡面有很深層的文化寓意和環境的多元性。從人界到阿修羅界，再到叛軍基地，每個世界都完全不一樣，非常獨特，但是同時它們都為同一個故事服務。

Chichoni：Asura is very different from the Science Fiction, Historical or Horror films in which I participated, this is an epic story and for me it was extremely complex in terms of design because of its deep cultural implications and diversity of environments. We go from Human realm to Asura realm and to the cave of the rebels, each world is completely different and unique, but at the same time they must belong to the same story.

站酷網：讀完《阿修羅》劇本之後，您有什麼啟發？是怎麼把一個架空的世界以及天馬行空的創意真實的落實到視覺上的？

契柯尼：假如遇上一個不怎麼有意思的故事，構建出一個新穎獨特的宇宙會挺不容易，但是阿修羅宇宙真是讓人思如泉湧。我和張鵬導演只怕腦洞不要開得太大收不住！和導演還有製片人保持良好的關係也是非常重要的。最考驗人的一點就是把所有構思設計轉化成現實，然後我們得努力解決每一個碰到的難題，而且常常還是大難題。

Chichoni：The way of visualizing a new and original universe can be a very difficult task if the story is not interesting but the Asura universe was so inspiring that the ideas flew freely and with the director Peng Zhang we only had to contain those waters so they did not overflow!The good relationship with the director and the producers was also fundamental in this concern. The great difficulty was to bring to reality everything we had imagine and designed, then we had to work hard looking for solutions to solve each problem, which were sometimes really big.

站酷網：《阿修羅》是您第一次參與中國的電影，這個奇幻片脫胎於東方文化，設定方面好像又能找到西方奇幻的影子，你是如何理解這部作品的世界觀設計？你又是怎麼在《阿修羅》里表現東方文化的？

契柯尼：顯然我不能否認西方的文化背景，但是我對亞洲藝術的熱愛也讓我對東方文化有一定了解。雖然不敢說對東方文化有很深的認知，但是我家的閱覽室里大部分都是東方印度、巴基斯坦，以及中國的藝術和建築書籍。說到底，沒有中國藝術家的幫助，我沒有辦法設計出一條中國的龍。但是《阿修羅》促使我探索和創造一個和歷史事實不緊密連接的嶄新世界，所以這裡的東方文化的深度會更多體現在抽象的意識體系上，而不是正統的形式上，這點給了我更多的發揮空間。

Chichoni：Obviously I cannot deny my western nature, but the influence of oriental culture comes from my passion for Asian art, and although I do not pretend to have deep knowledge about it, I must say that my personal library is composed mostly of Eastern art and architecture books from India and Pakistan as well as China. Anyway, I could not design a Chinese dragon without the help of a Chinese artist! But Asura pushed me to explore and create completely new worlds that did not necessarily belong to a historical reality, therefore the depth of Eastern culture in this case was more philosophical than formal. This gave me great creative freedom.

以往作品

站酷網：從美術概念設計的角度，您怎麼理解三頭阿修羅王這個角色？

契柯尼：關於三頭阿修羅王，導演有很特別的想法，而我負責完成這個想法，但本質來說這有相當一部分是服裝設計的功勞，它主要出自傑出的服裝設計師，奧斯卡獲獎者Ngila Dickson之手。

Chichoni：The three heads of Asura King were an idea that the director wanted very specially and I worked in doing it, but marginally since this was rather part of the costumes design work. That was in the hands of the extraordinary costume designer and Oscar winner Ngila Dickson.

站酷網：《阿修羅》你認為最驚艷的場景或畫面是什麼？有哪些細節值得我們留意？

契柯尼：這部影片里有非常多可以被稱之為現象級的驚艷場景設計，比如阿修羅王的宮殿、人界村莊、花露森林等等。我個人特別喜歡叛軍山的畫面，因為它的複雜和立體性，還有它的龐大的白色樹木以及用岩石雕刻而成的建築。另外，醫生實驗室也是我最喜歡的場景之一。

Chichoni：There are a large number of scenographies that you could define as phenomenal; obviously King Asura"s palace, the Nectar Forest or the Village, but I especially like the Rebels" cave for its complex and three-dimensional space, for its large white tree and its architecture sculpted in the rock. The rebels lab is also one of my favorite scenographies.

《阿修羅》電影海報

站酷網：《阿修羅》電影的同人大賽正在站酷舉辦，你平時會關注同人創作嗎？你期待看到什麼樣的作品？

契柯尼：是的，我會關注。因為我以前是一個插畫師，所以我很自然地就會去關注電影的海報，但必須承認我不喜歡當下所有的電影海報。我認為海報不應該只包括一個有識別度、有特色的電影畫面，海報還應該包括一個能告訴我們故事的意義的視覺暗喻。色彩應該傳達電影的戲劇性，也應該和電影原色調匹配。同時，海報的構圖應該讓我們能清晰地看到這些元素。但是如果畫面不具有美感，這些都是空談。

Chichoni：Yes, I naturally watch the posters of the films and this is due because my past as an illustrator, and I must say that I do not always like them. I believe that a poster should not only contain a recognizable and characteristic image of the film, it should also contain a visual metaphor that tells us the meaning of the story. The color will tell us about its dramatic sense and should match the original color of the film. At the same time, the composition will allow us to clearly read all these elements. But nothing would work if the image was not made with beauty.

以往作品

站酷網：您覺得一個合格的電影概念設計師，應該具備哪些能力？

契柯尼：一個好的電影概念設計師應該知道怎麼設計，而首先就是得會畫。好的畫功是設計的基本工具，也會幫助故事有一個準確的視覺呈現。還有其他因素，比如對設計藝術史的深刻了解，以及擁有觀察身邊一切的好奇心和敏銳洞察力。我們可以把所有這些數據存在腦子裡，記憶像是一個有著無限容量的硬碟，接下來的問題就是運用這些知識來進行設計，而這隻有一個辦法：最大限度地自由發揮你的創意。對大部人來說，這是最難的。

Chichoni：A good concept artist must know how to design and for this he must know how to draw. Good drawing is a fundamental tool to design and for a correct visual representation of the story.But there are other elements; a good knowledge of the history of art, of architecture, of design and to develop a great curiosity and a keen capacity to observe everything that surrounds us.

We can accumulate all these data in our mind, the memory is a hard disk of an almost infinite capacity, the problem then is to apply all this knowledge in design and that is achieved with only one thing, is to do it with maximum creative freedom. For most people that is the most difficult thing to do.

以往作品：Environments—Film&Video Games(

圖源自官網)

站酷網：你覺得現在的電影行業給從業者的機會是不是更大？對想從事電影行業，或從事概念設計的新人有什麼建議？

契柯尼：我認為電影行業有很多可能性。隨著新媒體的出現，機會比以前大大增加了，但也因為新媒體，競爭變得非常激烈。成千上萬和新媒體產業有關的藝術家都在電影行業尋找機會，這樣的競爭環境以及新興科學和技術的發展，將新晉電影從業者的水平提到了一個空前的高度。

但電影行業里也存在著一種標準化，很多藝術家太相似了。唯一的解決辦法在我前一個問題已經提到了：「要有對藝術史，建築史，設計史的深刻了解，加上強烈的好奇心和敏銳的洞察力，你就能夠自由地運用這些知識進行藝術創作。」

Chichoni：I think there are many possibilities in the film industry. With the new media, opportunities have multiplied infinitely, but for this same reason today competition is very hard. There are thousands and thousands of artists around the world who can connect with this industry in search of an opportunity. This struggle has made the quality of new creators reach an extraordinary level in the use of new techniques and technologies.This very competitive enviroment of new techniques and technologies give to the creators an extraordinary level of quality. But there is also a kind of standard and most of these artists are too similar. The only solution is already in my previous answer "a good knowledge of art history, architecture, design and development of curiosity and observation capacity to then be able to apply all this knowledge with maximum creative freedom".

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本篇內容來自：站酷設計師專訪

專訪記者：米飯殿下