《奧本海默》製作設計師解析電影道具與場景！核彈是真是假？

超肝劇組只花 57 天就殺青｜經典電影大解密｜GQ Taiwan

製作設計師 Ruth De Jong 向我們展示了她如何將克里斯多福·諾蘭的標誌性電影《奧本海默》

的願景變為現實。如何用佈景來描繪比例？建造 360 度全景套件需要哪些步驟？從充分的研究
到收集所有複雜的細節，再到將佈景變為現實，露絲帶我們經歷了她天才的電影設計過程，當
然也解釋了那顆核彈！

About seven days from when we were to shoot the Oval office i get a call from locations

we lost this location and so Chris just looked at me and said you have to build this and walked

away.

大概在我们要拍摄椭圆形办公室的七天前，我接到外景部门的电话（我们失去了这个取景点）

所以克里斯就看着我，并说（你必须把这搭出来）然后就走开了

Hi I,m Ruth D young and this is how I designed Christopher Nolan,s Oppenheimer

嗨 我是露丝·D·杨，而这是我如何设计出克里斯托弗诺兰的奥本海默

I actually sat down with Chris Nolan and Emma Thomas his producer and wife

我其实会面过克里斯诺兰与艾玛托马斯，他的制作人和太太

I was actually filming nope at that time and Hoyt van Hoytema was the cinematographer on nope
and he also has been a longtime collaborator with Chris and Emma and team and they were look for
a production designer unbeknownst to me and thought I would be a great fit the way Chris likes to
work is he works very closely with his designer and in previous films he had done the same where
he,ll spend six to eight weeks alone working one on one with his production designer together
Laura and I are extraordinary um researcher Lauren Sandoval and she has some just incredible
relationships with archist universities the US government and was able to get her hand on a lot of
declassified documentation and imagery but also you know Chris was very careful to remind me he
was not interested in making a documentary we were not interested in replicating these pictures it
was essentially you know study this get the essence of this imagery and then I was to divorce myself
from it and we were to make the Oppenheimer that we made

我当时在拍（不），而霍伊特·范·霍特玛是（不）的摄影师，他也是克里斯与艾玛及团队的长
期合作伙伴，而他们在找一位制作设计师，但我并不知情，他们认为我很适合，克里斯偏好的
工作方式是与他的设计师非常密切的合作，在过去的电影中他也是这样做会花上 6-8 周，与制
作设计师单独一对一工作，劳拉和我，我们杰出的研究员劳伦桑多瓦尔，他与档案管理员，大
学，美国政府维持极佳的关系，能够取得大量的解密文件和图像，但同时，克里斯也很小心地
提醒我，他并不打算拍一部记录片，我们并不打算复制出这些照片，基本上是研究照片，理解
影像的本质，然后我要与之脱离，并创作出我们的（奥本海默）

First I,ll sketch out sort of how I,ll seeing things we,ll send it to my set designer this is our official
plan view of our finalized Los Alamos drown by Jim hwit a fabulous set designer who,s been on my
team for many projects Jim is a hand draftsman so he drews by hand we will go from plan view to
elevations to sections and simultaneously we will have art directors make these three dimensional
in the computer so we,re able to fly through see scale understand it immediately simultaneously
with going from 2D to 3D，We will go 3D with our model maker these are elevations and then these
will get broken down to actual build plans I always love to do foam core White model very simple
very efficient you can understand the scale the real los Alamos was very expensive and big and epic
and the US government spent about 2 billion dollars and four years and had a lot of support

I had neither I think less than 8 weeks to get this entire thing ready this is where we were going to
start Chris and I scouted and American West New Mexico Utah full well knowing that Los almos was
located in New Mexico but the very first thing interested Chris was finding the most epic cinematic
Vista we landed on Ghost Ranch outside the abacu and we found this epic Plateau uninhibited
views nothing we had to take out there was no interest on Chris,s part to use any CGI or postwork
no set extension so everything needed to be built 360 in camera all of it we had to build a road
for the crew to even access to get up to here and we were able to hide base camp way out of the
way so we could be up on this plateau and 360 see north south east west and we had these rock
formations that Chris and I fell in love with and it truly was wow and cinematic and exactly I think
what he had in his Mind,s Eye somehow we just landed on a T of main street and Trinity avenue
Trinity avenue is what went into the technical section which is often referred to as the t-section
which is where Oppenheimer held all of his lectures this was completely surrounded by barbed wire
and fencing and towers and guards Main street was more it serviced from the bar in the school in
the hospital and the laundry and the trading post and there was a theater there was a church it was
25 total 360 sets one of them being a massive building with a bridge coming out of the main lecture
hall and where you see in a scene where the bomb is loaded and carried off and every single
building was finished 360 so Chris and hoyat shot every single side of all of these buildings I fully
understand they may say oh this is all I need to see I,m never going to see over there but I think with
the way Chris works it,s intuitive it,s felt i think he already knows and sees what he,s going to shoot
that day but also he and hoyat will lean into things if the light is epic if the Windstorm picks up if the
rain is coming if the snow we dealt with all of it and they don,t have to worry about oh well the
set,s not finished we treated the entire film this way as we as we went through I think Los Alamos I
want to say we did that in about 12 weeks start to finish construction started in December and began
shooting the end of February and we were hit with several snow storms I remember riding Thomas
Haislip our executive producer maybe two or three weeks before we were literally supposed to land
here and shoot and we got hit with a huge snowstorm and I was like these sets will not be ready and
he goes so what are you telling me I was like I don,t know I just have to tell somebody because we
can,t get up and there,s snow on the groud and um he goes it,s going to be great.

首先我画出我构想的草图，将他发给我的场景设计师，这是我们最终版的洛斯阿拉莫斯正式平
面图，由吉姆休伊特绘制，杰出的场景设计师，在我的团队里做了非常多案子，吉姆是手绘图
师，所以她用手画，我们把平面图制作成立面图，与剖面图，同时我们还会请美术指导，在电
脑上制作成立体图，这样我们就能快速看出比例，立即就能理解，在将 2D 制作成 3D 的同时，
我们会请建模师制作出 3D 模型，这些是立面图，然后这些图将被分解成实际的施工图，我一
直都很爱制作珍珠板白模，很简单，很有效率，能让你理解比例，真正的洛斯阿拉莫斯非常广
阔 巨大 雄伟，美国政府花了 20 亿美金与 4 年时间，并有大量的支援，我什莫都没有，我想我
只有不到 8 周时间，准备好整个场景，这是我们的出发点，克里斯和我勘景了美国西部，新墨
西哥，犹他，我们很清楚洛斯阿拉莫斯位于新墨西哥，但克里斯第一感兴趣的事是找到最史诗
的电影远景，我们选定了阿比丘近郊的幽灵牧场，找到了这个壮丽的高原，无迹的视野，没有
需要移除的东西，克里斯毫无打算利用任何 CGI 或后制，不做场景扩展，所以一切都必须 360
度建造，全都会入镜，我们甚至必须建造一条路，才能让剧组到这，我们把基地藏在远处，让
我们能够在这高原上 360 度拍摄，看见北方，南方，东方，西方，在这里还有克里斯和我都爱
上的这些岩层，在，很得令人惊叹且深具电影感，我认为完全符合他心中的理想，不知怎么我
们就来到了缅因街与三一大道的一个 T 字路口，三一大道会通往技术区，常被称作 T 区，是奥
本海默举行所有讲座的地方，此处被铁刺网，栅栏，高塔和警卫彻底围绕，缅因街比较多是提
供服务的酒吧，学校，医院，洗衣店，交易所，还有一座电影院，教堂，总共有 25 栋，360
度场景，其中一个是巨大的建筑物，有一座空桥从主演讲厅延伸出来，，也是你在炸弹被装车
载走那场戏看到的地方，每一栋建筑都是 360 度完整的，克里斯与霍伊特拍摄了所有建筑的每
一面，我完全理解，他们可能会说，我只需要能看到这面，绝对不会看到那面，但我认为克里
斯的工作方式很直觉，凭感觉，我认为他已经知道并看到他当天要拍的东西，但它与霍伊特也
会临场发挥，要是光线很壮观，要是风暴转强，要是大雨将至，要是下雪，我们都应对过，而
他们不用担心（哦 这个场景不完整），我们全程都是如此对待这部影片，我想洛斯阿拉莫斯，
我们带该花了 12 周，从开始到完成，建筑工程始于 12 月，并在二月底开拍，期间遭遇了好几
场暴风雪，我记得写信给执行制作人汤玛斯，海斯利浦，大概在我们真的要到这开拍的两三周
前，我们遇到一场大暴风雪，我说（这些场景绝对赶不及完成），而他说（所以你的意思
是？），我说（我不知道，我只是必须说出来），因为我们上不去，地上又有雪，而他说（一
定会很棒的）
 the Trinity Tower was an old radio tower that actually existed in the White Sands Missile Range
and that is what Oppenheimer and his team chose to take over and build the shed on top and lift the
bomb up to the top for the first test Chris and I scouted the actual location that was a very moving
day we stood at the base of the tower the four um concrete pieces are there and there's a maybe
like a foot each of the metal you know disintegrated it completely it was very somber you know
thinking about this was the very beginning of nuclear weapons being a thing so it was very important
to us to be there and see this and take this in and that was infused into the Trinity base camp that
Chris and I designed and recreated from scratch we were offered to be able to shoot inside the
White Sands Missile Range but they are doing periodic bomb tests and they said oh you guys can film
but we we go forward with all of our testing we're like that doesn't work we went 60 Miles North
exactly 5 miles off the mountain range to me those 360 views of Opie on the tower as well as just
setting up and getting ready for this was very iconic a huge storm hit us the day we decided to shoot
there there was so much sand flying through the air and everybody had on goggles and we had the
IMAX camera and it was just getting inundated with dirt it was a mess and Chris is like and we will
carry on that's when Killian was climbing the tower and he loved it and it made those scenes really
incredible and come alive and you can't create that in a studio or inside he thrives off of that which is
amazing and he has a crew that supports him through all of it

三位一体塔是座旧的无线电塔，实际上位于白沙飞弹靶场内，奥本海默和他的团队选择接管他
并在顶部增建棚屋，并将炸弹吊到塔顶进行首次试爆，克里斯和我曾到实地勘景，那是非常感
动的一天，我们站在塔的基地，四块混凝土仍在那，每块大概还留着 1 英尺的金属，炸弹彻底
瓦解了他，想起来令人非常肃穆，这里是实现核子武器的最起点，所以亲赴战场对我们很重要，
要见到这一切并深刻体会，而那些感觉融入了克里斯和我从头设计和重创的三位一体基地，我
们获得在白沙飞弹靶场内部拍摄的许可，但它们会定期进行炸弹试爆，他们说（哦 你们可以
拍摄，但我们会惊醒所有试爆），而我们想（那可行不通），我们选定 60 英里以北，离山脉
刚好 5 英里的位置，对我来说，小奥在塔上的那些 360 度画面，以及对这场戏的设置与准备，
非常具有代表性，我们决定在那拍摄的那天遇上巨大的风暴，空中大量尘土飞扬，每个人都戴
着护目镜，我们用的是 imax 摄影机，而他几乎被尘土淹没，状况混乱，但克里斯说（我们继
续拍），那就是席尼爬高塔的时候，而他爱死了，也令那场戏令人难以置信，且栩栩如生，而
那是无法在摄影棚或室内拍出来的，他在困境中越战越勇，但很不可思议，也有整个剧组在过
程中支持着他

we built one bomb it's not a real bomb it's no plutonium it was really important I saw the bomb as
really as the main character alongside Oppenheimer Chris and I talked a lot about he needed to see
the entire bomb throughout and we wanted to capture these initial tests they were doing Chris was
thinking welI I can see the entire bomb but maybe you don't need to build all of the components of
the bomb it told a lot and it was just there and it was present and you see the scene when they walk
into the rad lab in Los Alamos and you see them placing the lenses we had a wonderful set designer
Justin draw this up for us and then we sent it over to some incredible prop makers who essentially
recreated the bomb and it was sort of art Department props and special effects and together we
came up with all of it as you see there's that really iconic shot that Chris captures of Oppenheimer
standing in the tower and you see all the components including this plate that we fabricated this
diamond plate we tried to match the metal finish almost to the tea in size and scale and proportion it
was an exactreplica is it being real

我们制作了一颗炸弹，不是真的核弹，没有钚，他非常重要，我将炸弹视为与奥本海默并肩的
主角，克里斯与我有过很多讨论，它必须看到整个炸弹的所有过程，我们也想捕捉他们进行的
这些初步测试，克里斯当时认为（我要看到整个炸弹，但也许你不需要建造出炸弹的所有部
件），他传达了很多，就在那，存于眼前，你们也看过那些场景，当他们走进洛斯阿拉莫斯的
辐射实验室时，你看到他们在放置透镜，我们有位很棒的场景设计师，贾斯丁，为我们绘制了
设计图，然后我们发给超厉害的道具制作师，他们基本上重建出了核弹，这算是美术部门的道
具，配合时效部门，我们一起呈现出你们所看到的东西，克里斯捕捉到了一个很有代表性的镜
头，是奥本海默站在塔上，而你可以看见所有的部件，包括我们制作的一块板子，这块菱形板，
我们试着完美复制出金属的表面质地，以及大小、尺寸、比例，他是个精确的复制品，只差不
是真的

the Oval office Chris and I had pre-selected most all of our locations in around Los Angeles for
whichever places they were playing Berkeley DC Etc scouted it thought we had a deal thought we
could shoot there about 7 days from when we were to shoot this and my art Department was
getting some frantic calls they weren't getting access to the building they had all the drapery
everything was measured for the Nixon Library to turn that over and make it into a truman Oval
Office and then there were other locations that we were going to use for the lobby and the
cabinetroom so this would be a location with just a complete dress and transformation I get a call
from locations we lost this location and I was thinking I'm going to probably have to build this there's
no other option for an oval office in La surely we can put it at the end of our shooting schedule a few
weeks from now Emma let us know that our actor was locked and there was no chance in moving
his date Gary Oldman play Truman and so Chris just looked at me and said you have to build this
and walked away and I remember standing there going I have no idea if this is humanly possible I
knew in 7 days we couldn't erect an oval office this scale even if with 24 hours a day running a crew
early on in prep we had researched standing sets that might have been flat packed Samantha
Englander my supervisor art director she had put on hold I don't know if it was just a spidey sense or
what I think it was the veep set we immediately locked in a stage at Universal we had been planning
on doing a cabinet room and lobby at the Nixon Library so we had a lot of flats that construction had
been building we took those and repurposed them and we had I guess a total of five days running a
crew 24 hours a day we did it I don't think any of us knew if it would be possible or we would pull it
off and this was one of three locations we shot that day Chris arrived to and I remember he walked
in and it's still reek of wet paint just that thick smell of wet paint but it was done it was perfect they
shot the scenes it was if nothing happened yeah I never want to do that again
椭圆形办公室，克里斯和我已在洛杉矶周围预选好大多数的取景地，不论是要拍那个地点，伯
克利、华盛顿特区等等，完成勘景，以为已达成协议，以为能在那拍摄，大概在我们要拍这场
戏的 7 天前，我的美术部门接到一些紧急电话，他们无法进入那栋建筑，他们已做好所有布幔，
所有东西都是依尼克森图书馆测量的，已改造那，将他变成杜鲁门的椭圆形办公室，然后还有
其他取景地，是要用来当作大厅，与内阁会议室所以这是一个需要彻底改装的取景地，我接到
外景部门的电话（我们失去了这个取景点），而我想（我可能必须把这搭出来），洛杉矶没有
其他椭圆形办公室的选择，我们一定可以把这场戏延到拍摄计划最后，还有几周时间，

艾玛告诉我们，演员的档期已经卡死，不可能调动他的拍摄日，饰演杜鲁门的盖瑞欧德曼，所
以，克里斯就看着我，并说（你必须把这搭出来），然后就走开了，而我记得我呆在原地心想
（我不知道这是不是凡人有可能做到的事），我知道在 7 天内，我们无法建出这种规模的椭圆
形办公室，即使是 24 小时轮班赶工，在筹备早期，我们研究过组合式的布景板，萨曼莎·英格
兰德，我的美术指导总监督，他预定了，我不知道是不是处于某种蜘蛛感应，我记得那是（副
人之仁）的场景，我们立刻定下环球的一个摄影棚，我们原本计划在尼克森图书馆里拍摄内阁
会议室和大厅，所以我们有很多制作组建造的景片，我们把那些拿来重新利用，而我们有，我
猜总共 5 天，24 小时轮班赶工，我们做到了，我不认为有任何人觉得这是可能的事，或是我
们能做到，而这只是那天我们拍摄的 3 个地点之一，克里斯也到了，我记得他走进来时，场景
还弥漫着湿油漆味，那种油漆未干的浓厚气味，但已经完成了，非常完美，他们拍的那些场景，
仿佛什么都没发生，我永远都不想再经历一次

we shot this entire movie 180 page script in 57 days we moved so fast across the entire country
starting in New Mexico going to New Jersey then New York back to California to be able to design
and shoot and act on this palacial level was like nothing thing I had ever experienced in my entire
career and I don't know if I ever will again thank you so much for watching this is how we designed
Oppenheimer

我们拍完这整部电影，180 页剧本只花了 57 天，我们在全国快速移动，从新墨西哥开始，移

到新泽西，然后纽约，回到加州，能够以这种宏伟的规模进行设计拍摄与表演，是我职业生涯
中前所未有的体验，也不知道以后会不会有第二次机会，感谢你的收看，这就是我们如何设计
出（奥本海默）