The ‘Godzilla Minus Zero’ Filmmakers Terrified Bystanders With Their Monster Sounds
The ‘Godzilla Minus Zero’ Filmmakers Terrified Bystanders With Their Monster Sounds
Actor Seth Green—yes, that one—has seen Godzilla Minus Zero and says it’s awesome. While introducing the New York Comic Con panel for the 39th film in the Godzilla franchise, Green stressed that the filmmakers behind the movie “have created kaiju that feel physically real and, trust me, emotionally terrifying.”
演员塞斯·格林（Seth Green）——没错，就是那位——已经看过了《哥斯拉：负一》（Godzilla Minus Zero），并称赞它非常棒。在为哥斯拉系列第39部电影的纽约动漫展座谈会做介绍时，格林强调，这部电影的制作团队“创造出了在物理层面感觉真实，且相信我，在情感层面令人恐惧的怪兽。”
While a lot of that terror came from the work of Oscar-winning visual effects artist Tatsuji Nojima, some it came from the shrieking of Godzilla and his three-headed nemesis, King Ghidorah. Those roars were the work of sound designer Natsuko Inoue and her team, who created the monsters’ outsize vocalizations by rolling speakers to the top of an outdoor dam—much to the horror of people nearby.
虽然这种恐惧感很大程度上源于奥斯卡获奖视觉特效艺术家野岛达司（Tatsuji Nojima）的作品，但其中一部分也来自哥斯拉及其三头宿敌基多拉（King Ghidorah）的尖啸声。这些咆哮声出自音效设计师井上夏子（Natsuko Inoue）及其团队之手，他们将扬声器搬到户外大坝顶部，制造出怪兽巨大的发声效果，这让附近的人们感到惊恐万分。
“There were people having a picnic, maybe people just taking a stroll,” Hisafumi Takeuchi, who also worked on sound for the film, said during the panel. “The person walking their dog, though—they had the worst time, because the dog was freaking out and barking back at us.”
“当时有人在野餐，也许还有人在散步，”同样参与了该片音效工作的竹内久文（Hisafumi Takeuchi）在座谈会上说。“不过，那个遛狗的人最倒霉，因为狗被吓坏了，还对着我们狂吠。”
Since the creatures are imaginary, getting their screams to sound realistic is essential to making them seem believable—and genuinely scary—onscreen. At first, Inoue wasn’t sure if the idea of recording at the dam would work. Those fears were quickly put to rest.
由于这些生物是虚构的，让它们的尖叫声听起来真实对于使它们在银幕上显得可信且真正可怕至关重要。起初，井上并不确定在大坝录音的想法是否可行。但这些担忧很快就消除了。
“The first time we sent that roar out on the speakers, I could see the relief and confidence in everyone’s eyes,” Inoue said. “By using speakers and projecting it into the real world, capturing the reverb, the echo, the reflection of the sound back with the mic, it manifests it in our world.”
“当我们第一次通过扬声器发出那声咆哮时，我能看到每个人眼中的宽慰和自信，”井上说。“通过使用扬声器将其投射到现实世界中，并用麦克风捕捉混响、回声和声音的反射，它就在我们的世界中显现出来了。”
For other kaiju sound effects, Inoue’s team took an analog foley approach. To simulate Ghidorah’s dragon-like wings, for example, they flapped a rubber fisherman’s suit and mixed that noise with the sounds of an accordion-like air duct.
对于其他怪兽音效，井上的团队采用了模拟拟音的方法。例如，为了模拟基多拉龙般的翅膀，他们拍打了一件橡胶渔夫服，并将这种噪音与类似手风琴的风管声音混合在一起。
Getting two of Toho’s most famous monsters right was a huge undertaking, especially after the success of Zero’s predecessor, Godzilla Minus One, which brought home $114 million worldwide at the box office. Following that 2023 film’s harrowing mix of post–World War II malaise and bracing kaiju destruction will be tough, but a new trailer shown during the film’s panel at NYCC promised a sequel full of aerial dogfights and a punch-’em-up for the ages between Godzilla and Ghidorah.
要完美呈现东宝最著名的两只怪兽是一项艰巨的任务，尤其是在《负一》的前作《哥斯拉-1.0》（Godzilla Minus One）取得全球1.14亿美元票房成功之后。继那部2023年的电影融合了二战后压抑情绪与震撼怪兽破坏场面之后，想要超越它将非常困难，但在纽约动漫展上播放的新预告片预示了一部充满空中缠斗以及哥斯拉与基多拉之间史诗级肉搏战的续集。
Like the previous film, Godzilla Minus Zero is directed by Takashi Yamazaki and features visual effects from Tatsuji Nojima, whom Green called “the first Gen Z Oscar-winner” for his work on One.
与前作一样，《哥斯拉：负一》由山崎贵（Takashi Yamazaki）执导，视觉特效由野岛达司负责。格林因其在《哥斯拉-1.0》中的工作称他为“第一位获得奥斯卡奖的Z世代”。
Nojima began doing visual effects as a hobby while he was still a teenager before joining animation house Shirogumi as a compositor. After Yamazaki noticed a crude animation of waves that Nojima was working on, the director tasked the budding animator with developing the idea. Nojima turned around a fully rendered shot of ocean water over rocks that looked indistinguishable from reality. After that, Nojima recalled, Yamazaki said, “OK, I think you’re ready to animate and do VFX for Godzilla now.”
野岛在十几岁时就开始将视觉特效作为爱好，随后加入动画公司白组（Shirogumi）担任合成师。在山崎贵注意到野岛正在制作的一段粗糙的海浪动画后，这位导演便让这位初出茅庐的动画师去深入开发这个想法。野岛随后交出了一段完全渲染的、看起来与现实无异的海水拍打岩石的镜头。野岛回忆说，在那之后，山崎贵说：“好吧，我想你现在已经准备好为哥斯拉制作动画和视觉特效了。”
During the panel, Nojima broke down how he created a shot from the trailer showing Godzilla bursting out of the ocean while chasing a seaplane. “I simulated 200 million particles to get the whitewater effect correct in Godzilla Minus One,” he said. “With this shot in Godzilla Minus Zero, the scale is absolutely different with the new Imax aspect ratio, plus there was no live-action plate, so we’re dealing with a lot of CG on screen. We required 2 billion particles.”
在座谈会上，野岛详细介绍了他是如何制作预告片中哥斯拉冲出海面追逐水上飞机的镜头的。“在《哥斯拉-1.0》中，我模拟了2亿个粒子来获得正确的白浪效果，”他说。“而在《哥斯拉：负一》的这个镜头中，由于采用了新的IMAX长宽比，规模完全不同，而且没有实拍底片，所以我们处理的是大量的电脑特效。我们需要20亿个粒子。”
Godzilla Minus Zero is set to hit US theaters on November 6 and Japanese theaters on November 3, which has become known as Godzilla’s birthday since it marks the date in 1954 that Ishirō Honda’s original film was released in Japan.
《哥斯拉：负一》定于11月6日在美上映，11月3日在日本上映。11月3日已成为哥斯拉的生日，因为这一天是1954年本多猪四郎（Ishirō Honda）执导的原版电影在日本上映的日子。