Cross-town was the first example of how the whole city works, and Chris said he didn’t want jets or any simple solutions to the transportation。
So I thought of that kids’ game Mouse Trap, with all the components that fit together, and then just started goofing around with toys we all had growing up。
It ended up like a giant Hot wheels track, but with balls rolling along, and a catapult。 So I would draw individual bits, and then we’d piece them together。
整个城市如何发挥作用,其第一次试例是十字城,Chris 说,他不想用??气装置和任何简单的运行方式。因此我想起孩提时的捕鼠游戏,那是把所有组件安装在一起,然后开始四处玩我们仅有的这些玩具,在玩耍中我们长大。捕鼠器改成了巨大的,热气腾腾的轮轨,有些球沿着轨道滚动,还有个弹力器。
因此我单个地一小件一小件地拖动着,然后我们将每件组合在一起。 It was like building a toy, with only centrifugal force to direct you。 The goofier the better。
It was a gas。 Dave Gordon was an artist working with me, and he’d shoot out thirty rough ideas and I’d go, “okay, that’s cool” and then I’d go further with it。
Then carols and Chris and everybody would come in and go, “wouldn’t it be neat if…? 它象是建造一个玩具,心怀驱动力而引领着你。越固执己见越好。这是动力的燃料。
Dave Gordon 是我一道工作的艺术家,他迸发出30个大致的想法,我将采纳,"好的,太酷了"接下来,我进一步深入下去。后来carols and Chris 和每个人都加入进来并做下去,"如果这样。。。。它会更好点?" We got crazier on this sequence than anything else on the movie。
One of the cool things about the Express sequence is that it’s a neat bit of foreshadowing。 Rodney goes way up high and way down low, and we see every place he’s eventually going to end up in the city, from the train station to the Big Weld building to the low-end area—the whole breadth and depth of robot city。
在这部电影里,我们对这种效果比其他任何东西都感到狂热。关于特快列车的效果是最酷的事情之一,它是一个非常好的预演。Rodney向上走得很高,向下走的很低,我们看见每个地方,他最后走向城市的尽头,从火车站到宏大电焊大厦,再到底部区域-----机器人城市的整个广度和宽度的区域。
。
