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沉默的羔羊奧斯卡影后 #茱蒂佛斯特 得獎感言

茱蒂佛斯特為童星出身，三歲開始就演出廣告，五歲出現在電視節目中，九歲演出電影處女作《One Little Indian》，十四歲演出了馬丁史柯西斯的著名影片《計程車司機》。

這部影片讓她成功晉升好萊塢一線演員，從此之後接片如麻。70年代後期，佛斯特演出了大量的迪士尼電影。

1979年，個性獨立的佛斯特果斷中止演藝事業，考入了著名的耶魯大學文學系，1985年畢業後以成人演員身份再戰好萊塢。

經過了一連串的爛片洗禮後，1988年在《控訴》中扮演一名遭受性侵犯後勇敢指證罪犯的女孩，這個角色讓她獲得了第61屆奧斯卡獎最佳女主角和第46屆金球獎電影戲劇類最佳女主角獎，再次將演藝事業推向一個高潮。

1991年，佛斯特演出了經典恐怖片《沈默的羔羊》，在片中她精彩絕倫飾演了一名充滿大無畏勇氣，與變態連環殺手鬥智鬥勇的FBI女實習生，影片上映後，佛斯特成為好萊塢頂級女星，且再度拿下奧斯卡獎最佳女主角及電影戲劇類金球獎最佳電影女主角獎，成為未滿三十歲即獲得雙獎兩后的演員。

不過她並不滿足於此，在同年還完成了導演處女作《我的天才寶貝》Little Man Tate。1994年，佛斯特的演藝事業到了如日中天的巔峰狀態，《超級王牌》Maverick、《大地的女兒》證明她在商業、藝術方面的雙重實力。1997年，她又搖身一變，在科幻片《接觸未來》Contact中化身科學家。1999年的《安娜與國王》雖然北美賣座不佳，但在海外卻是熱門影片。2002年的《顫慄空間》Panic Room是佛斯特迄今最賣座的電影。

近年來佛斯特的演藝事業絲毫沒有因為年齡的增加而衰退，2007年她更是以驚人的1500萬美元片酬接演了復仇驚悚片《勇敢復仇人》 The Brave One。2010年甚至請來了梅爾吉勃遜（Mel Gibson），自導自演了家庭片《海狸先生》The Beaver。

之後還演出了羅曼波蘭斯基（Roman Polanski）執導的家庭片《今晚誰當家》Carnage，同樣再度獲得了金球獎的提名肯定。2016年茱蒂佛斯特再度執導演筒，交出由喬治克隆尼與茱莉亞羅勃茲合演的《金錢怪獸》，試圖揭露媒體與金融之間的操弄醜聞。

十四歲就成為熠熠紅星的茱蒂佛斯特，是好萊塢罕見的一位不以浪漫喜劇片走紅，而憑藉自身實力，展現女性強悍的一面聞名的女星。讓她初嘗奧斯卡影后滋味的《控訴》就是如此，她在片中飾演一位在派對上被性侵之後，勇敢出庭為自己作證，指控罪犯的女孩。佛斯特在本片中的表演魅力，讓觀眾想起七○年代著名女星珍芳達的風采。

而在著名的《沈默的羔羊》中，她飾演一位年輕的FBI實習生，與安東尼霍普金斯展開了異常複雜、恐怖的對峙。霍普金斯在本片中雖然只有十六分鐘的出場時間，但氣場之強大讓觀眾無不屏氣凝神。

霍普金斯的對手戲幾乎都是與外形弱小的佛斯特展開，雖然如此，她卻很懂得情緒的調控，往往是幾句乾脆簡練的對白之後，收斂住對手的氣勢。霍普金斯後來在採訪中表示：「茱蒂絕對是個戲精，她明白恐怖片的表演到底是怎麼回事情，每次無論我丟過去怎樣刁鑽的對白與表情，她都可以做出極合適的反應。」

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【＃新片預告】【沉默的羔羊】┎━━━━━━━━━━━━━━━━━━━━┒
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關於劇情

故事敘述一個聯邦調查局女調查員奉命追查連績殺人案，被害人全部是女性，而且兇手做案後一定會把被害人的皮剝下來。由於兇手的殺人手法殘酷而異常，警方又毫無線索，女調查員在上司指示下去找曾經當過心理醫生的變態殺人犯，藉以了解兇手的心理狀態。

這個精明的變態醫生由安東尼霍金斯飾演。他被關在一個地牢似的牢房裡，對研究他的聯邦幹探和警方派來的心理醫生理都不理，但對茱迪福斯特飾演的女調查員則頗感興趣。他把能找出兇手身份的線索告訴福斯特，但交換條件是她必須把她的過去告訴他。

《沉默的羔羊》是奧斯卡獎史上獲得提名獎項第2多的恐怖片，追平1964年的《最毒婦人心》（Hush… Hush, Sweet Charlotte）所創下的7項入圍紀錄。

《沉默的羔羊》也在1991年獲得國家影評人協會最佳影片獎、CHI最佳影片獎及PEO最佳影片獎的肯定。導演強納森·德米在1991年奪得柏林影展最佳導演獎，並獲得金球獎最佳導演獎的提名。

泰德·塔利（Ted Tally）也在1992年獲得愛倫·坡獎最佳電影劇本獎。

《沉默的羔羊》也在英國電影和電視藝術學院獎獲得9項提名，包括最佳影片及最佳導演獎。《沉默的羔羊》在美國電影學會於1998年選出的AFI百年百大電影中名列第74位

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＃沉默的羔羊
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也許大家這兩天假日依然會選擇去觀賞《怪獸與牠們的產地》，但還是要誠心推薦本周值得一看的兩部電影：

一部是梅爾吉勃遜 Mel Gibson 的《鋼鐵英雄 Hacksaw Ridge》，另外一部則為與盧貝松 Luc Besson 的經典之作《終極追殺令 Léon》一刀未剪導演版。

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《鋼鐵英雄》的中文片名翻得很不吸引人我知道，但這部是金獎導演梅爾吉勃遜相隔十年，再度執導演筒的強勢回歸之作，不僅改編自英勇震撼的真人真事，口碑更是一致讚揚，從影展至正式上映在各大影評網站的分數始終居高不下。
　
敘述在 1945 年二戰打得如火如荼之際，在美軍進駐的沖繩島上，發生了一場太平洋傷亡最為慘重的戰役，雙方超過 16 萬人因此命喪黃泉。在當時，有一位軍醫 Desmond T. Doss ( Andrew Garfield 飾) 因為虔誠的宗教信仰而堅持不肯攜帶任何武器上戰場，因而總是淪為軍中同袍霸凌與恥笑的對象。
　
雖然慈悲的心腸讓他拒絕殘害任何生命，但是當面臨救人時刻，卻將自己的生命置之度外。當時戰情緊繃，上急宣布棄守撤退，所有人都只顧著自己的性命倉皇逃跑，只有 Desmond 奮不顧身，赤手空拳穿梭於槍林彈雨之中，一個人救回了超過 75 條的性命。並在事後接過了杜魯門總統手中的勳章，成為美國史上最偉大的二戰英雄。
　
此部除了由金獎導演執導以外，更網羅了《蜘蛛人：驚奇再起》Andrew Garfield、《實習大叔》Vince Vaughn、《阿凡達》Sam Worthington、《駭客任務》Hugo Weaving。
　
官方預告：https://youtu.be/pPbWGl7vKrg
　

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《終極追殺令》的一刀未剪導演版，是盧貝松 1994 年首部進軍好萊塢的成名代表作，評價在多年以來歷久不衰，堪稱永垂不朽的經典之一。
　
1994 年上映的版本只有 110 分鐘，而此次的版本共計 133 分鐘，盧貝松曾經表示自己比較喜歡這個加長版本。在 Léon (Jean Reno 飾) 與 Mathilda ( Natalie Portman 飾) 的男女情感描寫與著墨更加細膩深刻。
　
這部不僅僅是尚雷諾最為成功的英語片，同時也是當時才年僅 13 歲的娜塔莉波曼的出道作品，兩人從此之名度大開，無人不知無人不曉。更被 IMDb 列為影史 250 部裡的第 27 名，重回大銀幕的可看性完全不在話下。
　
官方預告：https://youtu.be/D-SGQXNwnFY

Join the crew https://www.facebook.com/groups/2366734596727746/?ref=share

The Fifth Element(1997)
Director:Luc Besson
Cinematographer:Thierry Arbogast
2nd unit DOP:Nick Tebbet
Production Designer:Dan Weil
Key grip:Joe Celeste
Camera grip:Jean Pierre Mas
Stunt coordinator:Marc Boyle
Costume Designer:Jean-Paul Gaultier
Visual Effects supervisor:Mark Stetson
Creature Effects supervisor:Nick Dudman
Miniature Effects supervisor:Niels Nielsen
Visual Effects DOP:Bill Neil
Special Effects supervisor:Neil Corbould
Pyrotechnics supervisor:Thaine Morris

Luc Besson said he started writing the screenplay when he was 16, creating the vivid fantasy universes to combat the boredom he experienced living in rural France. But it didn't reach the screen until he was 38 years old; by that time, he felt he was old enough to actually have something to say about life.

According to costume designer Jean Paul Gaultier, the enfant terrible of the fashion world who once gave Madonna conical breasts, designed the futuristic costumes for The Fifth Element—more than 1000 of them. He didn't just design them, either For crowd scenes, where there might be hundreds of extras wearing his costume designs, he'd go around making adjustments to ensure everyone looked right before the cameras rolled.

According to Gaultier, Besson had lined up Mel Gibson, Julia Roberts, and Prince to play the leads in 1992, before financial problems delayed the project. (It's not clear whether any of them had officially signed on or were merely considering it.) Besson arranged for Gaultier to meet with Prince when the singer was in Paris so he could show him sketches of his designs. The meeting proved awkward (as one assumes many meetings with Prince are), and The Purple One later told Besson that he found the costumes "a bit too effeminate." It's entirely possible that the production delays would have prevented Prince from committing anyway, but it's fun to think about what Ruby Rhod would have been like in different hands. Gaultier had also unwittingly offended Prince with his description of one proposed outfit, a mesh suit with a padded, fringe-bedecked rear. Gaultier kept referring to this part of the suit as a "faux cul" ("fake ass"), but because of his thick accent, he said Prince misheard him as saying, "F-\-\- you!" Tucker has said he took inspiration from both Prince and Michael Jackson in crafting his performance as Ruby Rhod.

When filming began, the production decided to dye Milla Jovovich's hair from its natural brown color to her character's signature orange color. However, due to the fact that her hair had to be re-dyed regularly to maintain the bright color, Milla's hair quickly became too damaged and broken to withstand the dye. Eventually a wig was created to match the color and style of Leeloo's hair, and was used for the remainder of the production.

Luc Besson, an admitted comic book fan, had two famous French comic book artists in mind for this movie's visual style when he started writing the movie in high school, Jean Giraud (Moebius) and Jean-Claude Mézières. Both artists have long-standing comic book series in France. Moebius is best known for "Blueberry" and the (French) Magazine and (U.S.) movie Heavy Metal (1981). Mézières is best known for the "Valerian" series. Both series are still in production today. Moebius and Mezieres, who attended art school together but had never collaborated on a project until this movie, started renderings for this movie in the early 1990s and are responsible for the majority of the overall look of the movie, including the vehicles, spacecrafts, buildings, human characters, and aliens. However, only Giraud is credited, and even then, he wasn't even granted a premium when the movie was eventually produced.

Some of the most memorable moments from the film are views of a future New York, complete with flying cars and a mass of new and old skyscrapers. The film was one of Digital Domain’s huge miniature shows released that year – the others being Dante’s Peak and Titanic – while also heralding the fast-moving world of CGI in the movies. The New York scenes were created using a combination of CGI (for the flying cars), live action (the people), and scale models (the buildings). A crew of 80 on the production design team spent five months building dozens of city blocks at 1/24th scale.The visual effects for The Fifth Element were realized with a masterful combination of motion control miniatures, CG, digital compositing and effects simulations by Digital Domain. The flying traffic created by the visual Effects team allowed artists to create personalized license plates. Though never visible in the movie, the state slogan printed on all license plates reads "New York, The F***-You State."The people populating the roofs, decks, and windows during the visual effects sequences in New York City are the artists and employees at Digital Domain.
The text scrolling across a Times Square theater marquee as Korben dives down through traffic is actually an excerpt from an e-mail dispute between several artists at Digital Domain. Other signs on digital and practical, miniature buildings contain similar in-jokes and references and the large cylindrical tanker truck that Korben's cab almost hits at the end of his descent is decorated with the logo of a Venice, California, pizza parlor that was a favorite of Digital Domain artists.

‘You know, Mark, I don’t want to do these ‘fancy panning around and seeing the whole world shots’. I’d much rather set a camera looking down a street, having a cab rush towards me, and cut as it passes by, and then cut to a reverse of it passing by, and construct my film that way.’ – The Fifth Element visual effects supervisor Mark Stetson relates what director Luc Besson said to him about staging the film’s New York City shots.

This was Mark Stetson’s first visual effects supervisor role, this is what he had to say about it in a VFX blog article

Mark Stetson: I wasn’t afraid of the size of it. I didn’t think it was huge at the time. I mean, it was sort of standard tent pole-ish at the time and I was confident that I could do that, but it was my first one and there was a ton I had to learn, especially about digital visual effects. And I was very supported by Digital Domain. It was Digital Domain 1.0 back then, and they really gave me a great team. It was a great experience all around.

During the prep period, cinematographer Thierry Arbogast worked extensively with production designer Dan Weil to integrate various lighting units — primarily fluorescent and occasionally ultraviolet fixtures — within the sets themselves. More often than not, the futuristic spaces dictated the types of fixtures that could be used.
Arbogast had some challenges on the film he said this about the opera scene.
“Most of the lights you see in the opera house were already there. The difficulty was in lighting the people in the audience without illuminating the white facades of the balcony. Therefore, we used a lot of flags to focus our lighting precisely on the people.”

Gary Oldman played Zorg as a cross between then-Presidential candidate Ross Perot and Bugs Bunny.

In most shots of Gary Oldman, there is a circle around his head. In fact, a circle in the middle of the frame is a nearly constant motif in this movie. Bruce Willis, on the other hand, is more often framed by a rectangle or doorway behind him.

In keeping with the hands-on approach Besson established on Le Dernier Combat and has practiced on all of his successive films — Subway (1985), The Big Blue (1988), Atlantis (1990), La Femme Nikita (1991) and The Professional (1994) — the filmmaker operated the camera himself throughout the entire shoot. While such a working situation is rare for directors working within the Hollywood system, Besson prefers it because he can maintain better control of the onscreen action. "I create the frame and the movement within it," he explains. "Why lose time explaining everything to someone else? He's going to be slightly off, and then I'm going to freak out and say, 'No, this is not what we discussed. I want the camera here!' So it's better for everyone involved if I just do it myself.

"I write each action scene as if it is a ballet; the movements fit with the music. Generally, I'll shoot a fight sequence for 10 days using just one or two cameras and a very small crew. I've already written out the fight scene in my head, shot by shot. I do this for each and every sequence so that we can just shoot it, and then put the scene together in the editing room. At the same time, when you're on the set, you can have an idea at the last moment; you realize that from a different angle the light might be better, so you change the perspective [of the shot]. But I'll always write down and block out this [new] progression."

The explosion in the Fhloston main hall was the largest indoor explosion ever filmed. The resulting fire almost went beyond control. It took twenty-five minutes to put out.

At the time, it was the most expensive movie ever produced outside of Hollywood, most expensive French production history, and at $80 million USD, the visual effects budget of the movie was the highest of its time.

The wonder on Bruce Willis' face when the Diva sings is real. That was the first time he'd heard it and seen the actress in full make-up.

Bruce Willis, Milla Jovovich, Chris Tucker and Gary Oldman are all left-handed.

The director had been married to Maïwenn Le Besco, who plays the Diva Plavalaguna, since 1992 (when she was 16 and he was 33, but that's another story). She didn't want to be in the film, adhering to the old adage that married people shouldn't work together and co-workers shouldn't marry each other. But when the actress Besson had cast as the Diva dropped out, Le Besco took the part got painted blue and gave a memorable performance. Alas, Besson didn't share his wife's policy of not mixing work with relationships. He left her during the production for Milla Jovovich, whom he married at the end of 1997 and divorced two years later... then that happened

From Mental floss,vfx blog,ASCmag article,IMDb,YouTube visual element doc.