Stucky (Captain America); Jim Prideaux & Bill Haydon (TTSS); Daniel Brühl


Marvel's Captain America: Civil War: The Art of the Movie 概念图及说明:

Steve Rogers/ Captain America 制服 (pp.18-19)

Head of Visual Development Ryan Meinerding has designed Captain America since the hero's initial ap2earance in Marvel's Captain America: The First Avenger. According to Meinerding, the evolution of Steve Rogers' look is based on both the preference of the director and the nature of the story. "The Russo brothers have very specific taste in costumes, and really that involves tactical and realistic elements," Meinerding says. "The suit in Civil War is a simplified version of the Avengers: Age of Ultron costume. The Russos thought the costume was successful, but felt there were some design flourishes, like the white on the arm and the red detailing around the chest, that wouldn't necessarily be realistic in the more grounded film they wanted to make."

During the exploratory phase, Meinerding adapted Captain America's ironic chain mail from the comic book into a practical design. "I'm a huge fan of Cap's traditional scale armor, and I've always wanted to make it work," he explains. "When Tony Stark conceptually started being the one designing and building the Avenger's costumes, that costume felt a little more possible in the worlds we are making. Practically, it's a challenge to accomplish without feeling like it's something you've seen before. This was an attempt in doing that kind of armor, but in a more tactical and modern way. I focus on creating pointy U-shapes with more hard-edged angles to make it feel a lot more tough and read as bulletproof instead of just shiny scales. The other design part of it is that each one of the scales are designed to fit around the star, which is a classic look. The star is simplified into the U-shape – I was trying to design something that sort of fits together perfectly instead of cutting a shape out of a bunch if U-shaped scales.

Bucky制服_1 (pp.82-83)

Bucky Barnes has been lying low since the events of Marvel Captain America: The Winter Soldier. The accomplish his intention to blend in, the Winter Soldier's overall design initiative fully embraced a less-is-more ap2roach.

"I've worked on Bucky's looks since Captain America: The First Avenger, so I've been very interested in continuing to define the evolution of his look," Head of Visual Development Ryan Meinerding says. "In this movie, he is in hiding, which meant strip2ing away vestures of being a super hero and placing him in a casual setting. The jacket he rips the sleeve off to reveal the silver arm is his look for the majority of the movie. It's slightly more heightened and is meant to represent a newer vision of his Winter Soldier costume. Instead of having buttons running down one side of his torso, its design details are more squared."

Bucky制服_2 (pp.84-85)

Bucky's costumes in this film are based on adaptability," Costume Designer Julianna Makovsky says. "We need to make sure his look made sense, with him being on the run and all. I always want to create a backstory for where each character could have gotten their clothing. Bucky isn't in a position to have a super-hero costume – it needs to feel pieced together from here and there."

布加勒斯特追捕_1 (pp.98-99)

The epic Bucharest chase begins in the seemingly mundane, yet methodically organized, apartments of Bucky Barnes, "We wanted to put him in an environment that told a story in as short of a time as possible," Executive Producer Nate Moore says, "There're a lot of different ways you can be 'off the grid' – there's the cabin-in-the woods version; there's the dessert-island version. We thought it would be more interesting if Bucky was hiding somewhere in plain sight. Sometimes you can be more anonymous in a big city. It allowed him a weird autonomy that felt different than the expected, we had taken a research trip out to Germany and we were looking for locations that would double as Romania, and we found a really interesting Depression-era town that was very industrial, and we based on the look of the building off that. It was one of those very grey places where the sky always feels overcast, and everything is kind of used, and there's soot on the walls –that kind of texture detail was really interesting.”

With the real-life inspiration, the production team built a set that told Bucky's story through details. The apartment itself is in a corner lot and very high up in the air, which allows him a vantage point to see people coming," Moore says. "We liked the idea that his floor, which actually plays plot-wise in the apartment, is reinforced steel – it's not something you can break open like wood. There's a false floor where he's hidden a go-pack near the kitchen. The general ideal of the interior of the apartment was to give him a lot of nooks and crannies that would be useful for someone who wants to ap2ear to be normal but still has his weapon caches stored in a lot of different places."


布加勒斯特追捕_2 (pp.100-101)

Concept Artist Maciej Kuciara worked with Production Designer Owen Paterson and the Rosso brothers to capture the overall tone of Bucky's apartment. "I generally try to ap2roach my illustrations so they look and feel like key elements straight from the final cut of the film," Kuciara says. "That level of realism give that extra fidelity I feel can help production designers and directors realize their vision with extreme clarity. Story always comes first – so before ap2roaching any integration of characters onto my concepts. I would talk to Owen and figure out what we're after. Everything surrounding Bucky and the other characters would have visually sup2ort that storytelling moment.”


拘束室_1 (pp.130-131)

Early passes for Bucky's containment chamber explored a variety of aesthetics. "I wanted these units feel like he's an animal – caught in a trap  and even with all his strength, he wouldn't be able to escape," Concept artist Rodney Fuentella says. "I explored the use of high-tech, possibly Stark-tech, elements such as electrifying the outside bars. There's a level of empathy I think the audience will feel if the exterior of the cage seems dangerous. It's an interesting juxtaposition to put such an intensely powerful person into a situation that makes them helpless."

The containment chamber is transported into the bowels of facility, where Bucky awaits psychological evaluation. "The space is a bit like being in solitary confinement, which offered a desolate and sober atmosphere that mirrors Bucky's alienation. He's also very vulnerable here – it's a large, empty, open space, and he's on display. The design of the space is as inspired as the story we're trying to tell with the characters here." (p.133)

拘束室_2 (pp.134-135)

The Winter Soldier is arguably dangerous criminal in the world, and this chamber really mirrors his intensity," says Excusive Producer and Head of Physical Production Victoria Alonso. "With his metal arm, the necessary steps for containing his needed to be extreme. We created an electric pulse, administered by the chair, that would go through him every so often and keep him from using the arm. You couldn't just have him in a really strong chair with manacles because he's far stronger than that. The idea that the chair needs to be powered to keep Bucky at bay also plays into the story: When the power gets cut, the electric pulse stop, and suddenly he has the potential to escape."

"The shape of the chamber came from the idea of luggage – a massive luggage container that would be self-contained for human," Owen Paterson says. "This means there would be air conditioning and air sup2ly, and there was a power unit that would keep the manacles on his arms and legs. We had to keep in mind this was a mobile unit – this was going to go into an airplane; it had to be container sized. We wanted to make sure no human being would actually have to touch him or really interact with him once he was inside."

拘束室_3 (pp.136-137)

The first project that was given on the film was the 'Bucky container,' Paul Ozzimo says. "The design was very much inspired by airline ship2ing containers, which are essentially rectangular shapes with corners cut off to accommodate the curvature of an aircraft body. It also needed to feel very strong, so I wrap2ed it in a thick roll cage. Inside, Bucky is held place by some clamps that deliver a nice electrical charge to keep him still. The ideal was to make those restrains look as strong as possible."




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