1. The lightsaber, Star Wars (1977)
Roger Christian, set decorator: "When I saw Ralph McQuarrie’s painting, and George’s description of the lightsaber, I knew this would be the symbol of the film. It was obvious. He had invented something that everybody in the world would want.
"But I couldn’t find anything that felt right. It drove me mad. We had to get this prepared, and I was getting worried. The special effects made some [flashlight]-like ones but they just didn’t cut it. George rejected them. I was only looking for a found object, and I couldn’t quite find the weight that I knew this handle had to have.
"In desperation one day,I was making Luke’s binoculars, I found two different camera parts and I stuck them together with super glue. I needed two lenses to stick on the front and there was a photography shop in London which we always rented all our camera equipment for movies for so I went there and was buying a couple lenses and then I asked the owner, ‘Listen, have you got anything that might be interesting -- I need a kind of a handle for a weapon. Have you got anything I could look at?’ And he said, ‘Look over there, there are some boxes that are all covered in dust.’ Literally the first box I pulled out, there were these Graflex [camera] handles, there were about six of them in the box. And this would be like going in slow motion, the music is rising -- I took them out and it was like finding the Holy Grail. They were beautiful objects. They even had a red firing button on it.
"I got in the car and raced back to the studios. I thought, I have to have a handle, I took the same section of rubber I put around the sterling, stuck it as a handle around it. I found a piece of calculator where by the numbers were magnified, and it was like bubble strip -- it perfectly fitted the grip. And I just held it in my hand and thought, this is it. I called George and said, you better have a look. He came and took it in his hand and smiled. And that’s more than approval with George. You’ve hit gold if you get a smile.
"[To make the blade,] a friend of mine who I was doing some art exhibitions with, we painted projection material onto wood and we were using it as a reflector … We took a wooden dowel, drilled out a few of the Graflex light sabers that I had made, stuck it in the end, and he put it slightly off center, the motor, so the blade would give a little bit of a wobble. It picked up light, enough to rotoscope some of the scenes … So the one I made [cost] about $12."
评语：刻有Rosebud字样雪橇 2. "Rosebud," Citizen Kane (1941)
Robert L. Carringer, from his book The Making of Citizen Kane (1984): "The original Rosebud sled... [was] custom-built in the RKO property department. It was thirty-four inches long, made entirely of balsa wood, and fastened together with wood dowels and glue. Actually, three identical sleds were built; two were burned in the filming."
Orson Welles, director (press statement, 1941): "The most basic of all ideas was that of a search for the true significance of the man's apparently meaningless dying words. Kane was raised without a family. He was snatched from his mother's arms in early childhood. His parents were a bank. From the point of view of the psychologist, my character had never made what is known as 'transference' from his mother. Hence his failure with his wives. In making this clear in the course of the picture, it was my intent to lead the thoughts of my audience closer and closer to the solution of the enigma of his dying words. These were 'Rosebud.' The device of the picture calls for a newspaperman (who didn't know Kane) to interview people who knew him very well. None had ever heard of 'Rosebud.' Actually, as it turns out, 'Rosebud' is the trade name of a cheap little sled on which Kane was playing the day he was taken from his home and his mother. In his subconscious it represented the simplicity, the comfort, above all the lack of responsibility in his home, and it also stood for his mother's love which Kane never lost."
评语：死马头 3. The horse head, The Godfather (1972)
Al Ruddy, producer: "The studio sent us a stuffed head from one of the Western sets. The leather was so old, the fucking thing split. Needless to say, the head arrives on the studio. It's unacceptable. So Francis [Ford Coppola, director] and the art director went shopping for a head at a slaughterhouse. The horse had emphysema and was going to be killed anyway. The horse we featured in the movie wasn't the same one as the head -- it was a horse that looked just like him.
"John Marley, the guy who played the movie producer, was a pain in the ass because he was a complainer every time he was on screen. Now, we go to shoot the famous scene. We're shooting out on Long Island on a winter day, which is cold, dark, and rainy outside. We're down at an elegant old stone mansion, and John is wearing his silk coat and his pajamas, standing by the bed. Now, four grips walk in carrying this huge metal case. He has no idea what the hell's inside. I'm not exaggerating -- it was probably about 6 to 8-ft square with the latches on each corner. He stands by the bed, and they lower this thing on the floor. They take off the four latches, and he almost faints. He sees this fucking horse's head with the tongue hanging out. Oh, Jesus Christ!
"The next thing we know, the head is on the bed, on the yellow sheets. So you know, the horse's head was frozen with dry ice, so it was fucking cold. Francis figures, 'This is my shot to get him.' They put all the phony blood. John refuses to stretch his legs out. He's got his legs pulled in so it doesn't hit the horse's head. Francis kept telling him to straighten out. His scream was blood-curdling. What you hear in the movie was not done later on. We were laughing at a certain point. We were fucking howling. He was freaking out. When that scene was over, he ran off the set, throwing the bloody shit on the floor. He was gone for the rest of the day."
评语：漂浮滑板 4. The hoverboard, Back to the Future Part II (1989)
John Bell, visual effects art director: "[Director] Bob Zemeckis and [screenwriter] Bob Gale -- they're the guys who came up with the thing. I had to visualize what they envisioned. I was working at [Industrial Light & Magic] in 1986 and the project hadn't officially started yet. But our management came in and said, 'Bob Zemeckis wants to shoot Back to the Future II, we go to 2015, and there's something called a hoverboard. Come up with some ideas.' So I took about a month or so and just started doing random images of different parts of Hill Valley and scenes with hoverboards. We sent down slides to him -- because he was now fully involved with Roger Rabbit -- and we didn't hear back for a long time. The next time we heard from him was the fall of 1988. I got pulled into a meeting with Rick Carter, who was the production designer on the film, and he had seen the work I did in '86 and said, 'Can we get John to come down to our art department down at Universal Studios for just a couple weeks?' So I went on loan for what was supposed to be a couple weeks... and wound up being there for four to five months.
"Before I was on loan in the department in Los Angeles, I worked with Steve Gawley and Richard Miller in the [ILM] Highland model shop on the early designs for the hoverboard, which at the time were bigger, more like skimboards or snowboards -- bigger, wider, almost like a truncated surfboard. And they had a lot of stuff attached to them, because I'd been paying attention to a lot of skateboard culture in the mid-'80s. You notice how much they modify and personalize their boards, mainly stickers. So I thought in 2015, if these things could fly, maybe they'd put wings on them, different jet engines, they'd soup them up like a hot rod. These early boards were super complex, but when you start getting into production, and you realize they have to make multiples of all these things, it just got too cost prohibitive. The silver lining is that the final version of the hoverboard is so simplistic in its shape, with crazy graphics, that the magic is the power inside of it. You don't understand it, but you enjoy using it. It's like a cell phone.
"Rick Carter and I would chuckle about it. We had to put a different kind of thinking cap on this one. We were going 30 years in the future to a place called the Cafe '80s, but we're in the 1980s. So what was going to be relevant 30 years from now? Luckily the '80s were so graphic driven, so colorful, it made that part of it easier. There's that neon pink. In the 1984 Olympics you had pink and turquoise and peachy gold, and neon was a big driving fashion force at the time. At one point, Swatch was going to be proposed with doing sponsorship for the hoverboard when they were looking at branding for the thing, so we did some drawings with Swatch, and they were bold with colors. But you had to think what would resonate."
评语：马耳他之鹰雕像 5. The Maltese Falcon, The Maltese Falcon (1941)
Bryan Burrough, writer of "The Mystery of the Maltese Falcon," Vanity Fair (2016): "One studio memo said John Huston himself had been involved in commissioning the statuette for the film. He had contracted an artist to make it for $75."
"During the 1940s, [Black Dahlia murder suspect Dr. George Hodel] had run in a circle of celebrated artists and filmmakers that included director John Huston and the noted Surrealist Man Ray. According to the book, one of Hodel’s closest friends was Fred Sexton, an artist who was also a friend of Huston’s. In a single aside, the book made the claim that Huston had Sexton sculpt the original Maltese Falcon.
"It was the first time [anyone] had seen any artist’s name associated with the Falcon’s creation. But that wasn’t the only thing the book had to say about Fred Sexton. It was [Black Dahlia Avenger author] Steve Hodel’s theory not only that his father had killed Elizabeth Short but that his accomplice in a series of other unsolved murders during the 1940s had been none other than Fred Sexton."
评语：排球Wilson 6. Wilson, Cast Away (2000)
Robin L. Miller, property master: "Wilson was in the script because, as I remember, [writer William Broyles Jr.] was down in Mexico and literally found a volleyball on the beach. Later we were told by psychologists that people, when they're stranded and in moments of isolation, usually choose an inanimate object to talk to because they can't handle being alone. The odd part of this was that the name 'Wilson' was in the script, and so I approached Wilson the company to make me volleyballs. Wilson wasn't interested, at that point. Moviemaking had nothing to do with them. But I was very fortunate to find a woman there who, after I explained I was working with an Academy-Award-winning actor and an Academy-Award-winning director, the ball was called Wilson, for godsakes, and I needed blank ones, so I could make the face with Tom's handprint. She got me 20 -- only 20.
"I blew through 20 in a heartbeat. He went through all these incarnations, plus ones I could use for take after take after take. There were only five [hero props] used in the movie for up close shots.The aging on him changes over the course of the movie. His hair gets wrecked by the end. But we made them all last. I guarded them with my life. We were in Fiji, and then traveling to some island an hour and a half away from Fiji. The other nightmare was all those FedEx boxes -- they fell apart in the humidity, so for all those takes, we were gluing them back together take after take. They were cardboard turning into soggy graham crackers. But the Wilsons were locked up. I practically took them to bed with me. They took a long time to fabricate, with the hair and the aging.
"When Tom made the original one, I put red tempera paint on his hand and he made the pattern on the ball, not on camera. He tried it and... it didn't look great. So we did it again and again and again, and when we got one with enough room for the face, that became the template. We redid it on camera, and then we knew where we were headed because we came up with the concept three months earlier: how far his fingers needed to spread, what lines it needed to reach on the ball. Then the others were all hand-sewn, the hair was put in, and a scenic painter made five perfect matches, and then we had others for second, third, and fourth unit. Wilson had to be on every raft, and I wasn't going to give them my best ones!
"The challenge was they all had to match. Towards the very end, the one that sinks, it's so sad and so dirty. The hair is messed up. The one that ultimately sank, there were two (and remember, I only had five), but the effects department had to weight them to get pulled underwater. That was special -- it aged the most. I don't think we did many takes of that scene. It was the end of his journey."
评语：独角兽折纸 7. The origami unicorn, Blade Runner (1982)
David Snyder, art director: "David Q. Quick, one of the property masters, told me that the late Terry E. Lewis, who was the head property master, commissioned the origami unicorn(s) and had them outsourced via his buyer, Arthur Shippee. David said they were constructed by, unbeknownst to him, an origami artist and Arthur delivered a box full (probably a few dozen as they were fragile). David accepted. They were loaded into a specially marked box in the prop truck. Although the idea was to have the unicorns appear to have been constructed of throwaway chewing gum wrappers, they were made of a heavier gage metal foil due to their delicacy."
评语：海洋之心项链 8. The Heart of the Ocean, Titanic (1997)
Peter Lamont, production designer: "I worked with a buyer, Ronald Quelch, and when we did On Her Majesty's Secret Service, he knew John Asprey, who ran Asprey [& Garrard Limited]. On [Majesty's] we wanted a vanity case, and we were allowed to borrow one, but if we marked it we bought it. No arguments. When we showed [director] Peter Hunt, there was a smaller box inside the case that he loved, and we mocked it up in the studio. It was awful. So John Asprey said, 'Get me the imitation crocodile skin and we will make them for you,' which we did. He fitted all the capsules inside. They did a beautiful job of them. Then in Octopussy we had the Faberge egg, and again, Ronald went to John, and he made them for us. So obviously when I was on Titanic, we wanted the 'Heart of the Ocean,' and I spoke to Ronnie and he spoke to John Asprey, and he made it. It was a one-off.
"For Jim [Cameron, director], everything had to look as much like Titanic as possible. There were so few photographs of the real Titanic, and a lot was copied after Olympic, a sister ship. I remember the first set we did was the parlor suite. It was a real struggle to get it ready. We put the last screw in the wall to hang the bracket with the lamp that came from Mexico City that night. Jim breezed in and said, 'Looks right. Smells right.'
"The necklace wasn't based on an old design, but it did need to be heart-shaped. The thing is, it was a rather deep stone. If you have a diamond, they're always faceted, not cut off flat, because they won't get any reflections. It was rather expensive and had to be made beautifully. We used a semi-precious stone and, when you looked at it, it had to have all the definition. Couldn't be flat. Then behind the stone there's a little cage that protects the stone from being damaged, and we had to have a jeweler remove it because the stone was quite big. Then a facsimile was made right at the very end so it could be thrown into the water."
评语：猩猩用的骨头棒子 9. The bone club, 2001: A Space Odyssey (1968)
Arthur C. Clarke, writer (in an interview with Playboy, 1986): "[Stanley and I] were walking back to the studio in London and, for some reason, Stanley had a broomstick in his hand. He threw it up into the air, in a playful way, and he kept doing it, and it was at that moment that the idea of making the broomstick into the bone that gets turned into [an orbiting space bomb] came about. I was afraid it was going to hit me in the head. So later we filmed it with some sort of bone. That shot was the only one in the movie done on location. It was shot just outside the studio. There was a platform built and, just beneath it, all the London buses were going by."
评语：腿型台灯 10. The leg lamp, A Christmas Story (1983)
Reuben Freed, production designer (in an interview with Ohio Magazine, 2013): "The term 'leg lamp' is Jean [Shepherd]’s invention.… Bob told me he wanted The Old Man to be in the window with the lamp, and that it needed to be big enough to be seen from across the street. So, it had to be the size of a human limb. I got a mannequin leg and asked costume designer Mary McLeod for input. She brought me a single pump, and I added fishnet stockings because that’s what a bad girl would wear. For the lampshade, I drew on an image from a comic book that had a '40s look to it. That was the easy part. The difficulty was creating something that would break on command, that we could have more than one of, that could be electrified and stand by itself."
评语：邦德的飞行器 11. The jetpack, Thunderball (1965)
Bill Suitor, rocket belt pilot (on his website): "I was James Bond's stunt double during the shooting in France 1965. My colleague Gordon Yeager and me both flew three flights. Later it was edited to one flight."
"I began flying at Bell Aerosystems (later Bell Aerospace) in 1964 at the age of 19. The rocket belt had been developed by Bell for the US Army and part of their contract stipulated that they had to train a young man of 'draft age' with no previous flying experience. It just so happened that the inventor of the belt, Wendell Moore, was a family friend and neighbour. I was an architecture student at the time and not very happy, so when he said, 'Hey kid, wanna job?' I jumped at the chance."
评语：婴儿推车 12. The baby carriage, Battleship Potemkin (1925)
Sergei Eisenstein, director (in the essay "Methods of Montage," 1929): "In this [Odessa steps sequence] the rhythmic drum of the soldiers' feet as they descend the steps violates all metrical demands. Unsynchronized with the beat of the cutting, this drumming comes in off-beat each time, and the shot itself is entirely different in its solution with each of these appearances. The final pull of tension is supplied by the transfer of rhythm -- a new kind of downward movement -- the next intensity level of the same activity -- the baby-carriage rolling down the steps. The carriage functions as a directly progressing accelerator of the advancing feet. The stepping descent passes into rolling descent."
评语：雨伞 13. The umbrella, Singin' in the Rain (1952)
Gene Kelly, director-actor-choreographer (in Gene Kelly: A Biography, 1974): "I was running through the lyrics of the song to see if they suggested anything other than the obvious when, at the end of the first chorus, I suddenly added the word 'dancing' to the lyric -- so that now it ran 'I'm singin' and dancin' in the rain.' Instead of just singing the number, I'd dance it as well. Suddenly the mist began to clear, because a dance tagged onto a song suggested a positive and joyous emotion… All that was left for me to do was to provide a routine that expressed the good mood I was in. And to help me with this I thought of the fun children have splashing about in rain puddles and decided to become a kid again during the number. Having decided that, the rest of the choreography was simple. What wasn't so simple was coordinating my umbrella with the beats of the music, and not falling down in the water and breaking every bone in my body. I was also a bit concerned that I'd catch pneumonia with all that water pouring down on me, particularly as the day we began to shoot the number I had a very bad cold, and kept rushing out into the sun to keep warm whenever I could."
评语：巧克力里的金色彩票 14. The golden ticket, Willy Wonka & the Chocolate Factory (1971)
Julie Dawn Cole, actress (Veruca Salt): "They were made of a kind of foil paper, I suppose, a foil-covered paper. They were sort of crunchy, but more substantial than a piece of cooking foil. You had to be a little bit careful. The props men would hand them to you with great reverence: 'Here is your golden ticket.'
"We got to handle them twice, because we got them when we found the ticket, in whatever scene that was, in September 1970, and then when we went through the factory gates. As we were going through the gates, it was always like, Be very careful and don't lose this. You're sitting there, holding this thing for ages during shooting, getting a bit bored, thinking, Oh, I better not crease this too much. So I think the one going through the factory gates, by the time it got to the gates, was probably a little dog-eared. That's why they had spares. The actual going through the factory gates, that whole scene, I think we were a week in shooting it, a week of holding onto this one piece of paper.
"The props men would appear and disappear mysteriously, a bit like Slugworth, with the tickets. I would imagine there were a couple hundred made. I had about 10 at one time, and now I still have one framed with a Wonka Bar. I don't think the movie industry recognized the importance of props back then. Nobody did. They were just things that were in the movie. Movies didn't have this longevity and cult status yet. It's still a fairly young industry.
"But this prop has gone down in pop history. People refer to it as, 'Well, he got the golden ticket!' If you hear that on a program, you know where it came from, from Willy Wonka. It's turned into a catch phrase. It's extraordinary."
评语：大号收音机 15. The boombox, Do the Right Thing (1989)
Kevin Ladson, prop master: "There was a discussion about what Radio Raheem would carry. Spike picked out the largest boombox you could get. I was charged with dressing the boombox. I had a piece of kente cloth to wrap around the handle, and I cut up pieces of the Public Enemy album and put it on the side… Danny Aiello was supposed to go all out and destroy that boombox [at the end of the film]. You figured it would be one take but the total was three. He just wailed on it [but] it was a solid, solid, solid boombox."
评语：收音机 16. The boombox, Say Anything... (1989)
Barry Bedig, property master: "Finding the right prop can be difficult sometimes. The object of the game is to show the director a lot of stuff. I did a Herb Ross film, I think Steel Magnolias, and we had to find a piece of luggage, so we showed off 150 pieces of luggage. The more you show the more they can't say no. They have to pick something. So I found a lot of boomboxes. Cameron picked one. And yeah, it was a working boom box, it played. Actually I think the one we got was rented. Just came with a bunch of stuff."
Cameron Crowe, director (in an interview with Entertainment Weekly, 2002): "[The boombox scene] was the last thing shot on the last day with the last moment of sunlight. John [Cusack] felt that Lloyd was kowtowing too much by holding up the boombox, and that it was too subservient a move. He didn't love the scene, he didn't quite understand it yet -- he certainly does now -- and he wanted to be more laid-back.
"My whole argument was, 'Be defiant with the holding of the boombox.' The last take -- it was a place across the street from a 7-Eleven on Lankershim in the Valley -- he held up the boombox, and on his face is the whole story of the character -- the love of the girl, and, I think, John's feeling that it was a little too subservient but he was going to do it anyway."
John Cusack, actor (Lloyd Dobler) (in an interview with Entertainment Weekly, 2002): "I wanted to just have the boombox be on top of the car and him sitting on the roof. So I finally did it, but I did it without a look of longing and adoration and love. It was a different kind of feel than either one of us had originally planned."
评语：八卦收集册 17. The Burn Book, Mean Girls (2004)
Mark Waters, director: "I just dug up the shooting script and it says, 'Karen takes a scrap book of a shelf.' That's all the description that existed. That and 'this photo with this caption.' There was nothing descriptive about it, so it's something me and the art department had to come up with from scratch.
"I thought it had to look like a yearbook that would sit on the bookshelf near the yearbooks and a parent wouldn't look at. So we gave it a yearbook-looking cover. And it had to be pink -- the obvious color choice for Regina. Then when we were talking about what to put it in it, my prop guy Vic [Rigler] said, 'Let's make it look like those kidnapping videos.' Then, unlike a lot of movies where, when you're reading things off the page, you rarely create the prop before you start shooting, you get the book and save the inserts for the end of the shoot and with digital you change everything you shot, this was a case where we had so much stuff, like the freakout over the book and pages that get spread around, that we had to get the damn book done before shooting. That was a lot of pressure. Myself and Tina [Fey, writer-actress] micromanaged it to death."
Cary White, production designer: "I take a method approach with art directing. You get into the characters. You do their environments, the props. Being a straight man doesn't help here, but I did Lonesome Dove and research for that, and I did research for Mean Girls. This was after [director Mark Waters and I] did Freaky Friday, and for that, Jamie Lee Curtis had a teenage daughter and she invited me over to take pictures as research. The faces in the book, we had to have clearance for everyone in that book, so there were all these extras, some in featured roles, and you do a photo session with those folks, not professional -- the right camera, and sometimes terrible light."
Waters: "We had a big fight with the MPAA. One of the best jokes in the movie was in the book. It said, 'Amber D'Alessio masturbated with a frozen hot dog.' Later on when it's revealed, she says, 'Masturbated with a hot dog? That was one time!' The ratings board wouldn't let us use that. So we changed it to 'made love to a frozen hot dog.' That was still an R. Then it read 'made out with a frozen hot dog.' They said it couldn't be frozen. So then it became 'made out with a hot dog.' Not as funny. Now we dug our heels in the sand [against the censorship of] the girl at the assembly who says, 'vagina.' We wrote treatises about how it was sexist and body shaming. Somehow we couldn't say this but Will Ferrell could have an erect penis in Anchorman. They let us keep that joke but we had to sacrifice Amber D'Alessio's hot dog."
评语：刀 18. The knife, Psycho (1960)
Alfred Hitchcock, director (in the book Hitchcock, 1966): "It took us seven days to shoot [Marion's stabbing] and there were seventy camera setups for forty-five seconds of footage. We had a torso specially made up for that scene, with the blood that was supposed to spurt out from the knife, but I didn't use it. I used a live girl instead, a naked model who stood in for Janet Leigh. We only showed Miss Leigh's hands, shoulders, and head. All the rest was the stand-in. Naturally, the knife never touched the body; it was all done in the montage. I shot some of it in slow motion so as to cover the breasts. The slow shots were not accelerated later on because they were inserted in the montage so as to give an impression of normal speed.... This is the most violent scene in the picture. As the film unfolds, there is less violence because the harrowing memory of this initial killing carries over to the suspenseful passages that come later."
评语：红色气球 19. The red balloon, The Red Balloon (1956)
Pascal Lamorisse, actor (Pascal) and son of director Albert Lamorisse, in an interview with NPR (2007): "It's a love story. This poor little boy, we'll call him Pascal, he seems to have a grandmother. No sisters, no parents, and his only hope in life, his only real, close friend, is the red balloon. The red balloon was my friend. He was really like a real character with a spirit of his own, because he was glossy and reflected the world around him. It looked beautiful. You don't see balloons like that."
评语：魔戒 20. The One Ring, The Lord of the Rings trilogy (2001-2003)
Grant Major, production designer: "Tolkien's idea of the ring, though highly descriptive in its origin and the terrible power it has over its wearer, was described physically as being a simple golden band. This band is able to expand and shrink to fit the hand that wears it and when heated reveals a phrase in Black Speech: 'One ring to rule them all, one ring to find them, One ring to bring them all and in the darkness bind them.'
"When first tasked with the design of this most important prop for The Fellowship of the Ring, I thought it would probably take forever to agree on its look with the director, producers, the studio, LOTR experts, and fans all weighing in. You can imagine the visual significance to the film, the marketing, and other spin-offs, and how this iconic object would have to endure all sorts of ongoing scrutiny and re-production.
"It's interesting to understand that, at this phase of development in late 1998, the film project was completely under the radar, with none of the hype that surrounds it now. And Peter Jackson had the last word in all these design decisions. As it transpired, the overall design concept was quick and easy, one of the producers, Rick Porras, was about to be married and the ring he had chosen was identified as a good starting point for 'The One Ring.' Its profile was perfectly bulbous and 'weighty' and had a significant 'historic' look, was well proportioned and simple enough to carry the phrase on its internal and external surfaces. Alan Lee produced some additional sketches of the ring but it didn't change significantly from this first idea. A local jeweler from Nelson, New Zealand, Jens Hansen, was chosen to make these ring props. After various prototypes were produced, a final version was chosen and then multiples were made (around 40, I understand) for the actors and doubles in various units, many more were made latterly for publicity and gifts.
"There were also versions made for specific moments in the story; an extra large one (way over scale) was used for a super close up when placed on a table (also over scale) in Bag End to achieve a forced perspective effect. Another version was made from a magnetic metal so that when dropped onto the floor inside the front door of Bag End it would appear heavy and not bounce. From memory, there was never a version with the glowing lettering -- this became a visual effect. The lettering itself was a direct copy of that found in the book. But it was such a privilege help to bring this iconic prop to life and see how it has now become the definitive version for this movie phenomenon."
评语：红蓝药片 21. The red and blue pills, The Matrix (1999)
Owen Paterson, production designer: "Lana and Lilly [Wachowski] are true geniuses… I would have specific conversations with them about that scene. It takes place in a hotel that is essentially closed down. It's derelict. They had this beautiful expression [for it], which was 'putrid decay.'
"I can't remember what was in the pills, but there were discussions with doctors, so if anyone had have swallowed them by mistake, then it would be safe. It was just something that had to be blue and something that had to be red -- I believe we used gelatin caps. It was quite simple the way that was set up. The other really interesting thing was there were certain shots [in the scene] that were physically impossible to do. One is in the spectacles that [Morpheus] is wearing, you'll notice the left and right hand -- and I think the right hand is the red pill and the left hand is the blue pill -- but they are held up to the eye... The scene was shot so that the two separate hands were shot and both placed into those glasses. You would never know."
评语：死灵书 22. The Necronomicon, The Evil Dead (1981) and Evil Dead 2: Dead By Dawn (1987)
Tom Sullivan, special effects/animator: "The script for The Evil Dead had a description that [the book] had a cover of some type of animal skin, which I took to be leather [...] Being an illustrator, I thought, Maybe that's not scary enough, to identify it as a book of evil. I had the idea of human skin, and one of the most disgusting things I had heard is the story of Ilse Koch. She was the wife of a commandant of a Nazi concentration camp, and she would skin prisoners and make lamp shades and book covers with their skin. I thought that was horrifying, so I decided to use a replica of a human face. I had the molds of a couple of the actors, and I pulled it out and glued it onto a piece of corrugated cardboard, and bound the pages, which were a stiff parchment stock, with grocery bag paper.
"For Evil Dead 2, Sam [Raimi, director] wanted a larger book [...] I sculpted that one in clay. The pages for the Evil Dead 2 book were enlargements of my Evil Dead book… Then I would ink all the [pages] with red acrylic paint, which had the look of human blood. Then I took the pages and did a really dumb thing. Trying to age them, I stuck the pages in the oven. Even though they didn't get destroyed it just makes the paper so brittle. The best thing to do is stain it in tea."
评语：照相机 23. The camera, Rear Window (1954)
Alfred Hitchcock, director (in the book Hitchcock, 1966): "[Rear Window] was a possibility of doing a purely cinematic film. You have an immobilized man looking out. That's one part of the film. The second part shows what he sees and the third par shows how he reacts. This is actually the purest expression of a cinematic idea.
"He's a real Peeping Tom. In fact, Miss Lejeune, the critic of the London Observer, complained about that. She made some comment to the effect that Rear Window was a horrible film because the hero spent all of his time peeping out of the window. What's so horrible about that? Sure, he's a snooper, but aren't we all?"
A 1954 ad for the Exakta VX: The choice of the Exakta VX for Hitchcock's best motion picture could not have been unintentional because of the fact that the VX is the most versatile camera in the world. With it you can photograph any type of subject, microscopic or gigantic, an inch or a mile away. With the VX you can shoot routine pictures with a maximum of simplicity and ease, and master any difficult or challenging subject as James Stewart did in Rear Window.
评语：棋盘 24. The chess board, The Seventh Seal (1957)
Ingmar Bergman, director (in the documentary Bergman Island, 2004): "I wrote this film to conjure up my own fear of dying. Death was therefore to have a lead role and play a part right from the beginning. I knew that the knight and Jöns were traveling through a plague-infested landscape so I thought about the specific situation in which this knight would meet Death. It was very natural for me to think of Albertus Pictor's paintings. He was the famous medieval church painter. There's a painting of his that depicts Death playing chess with a knight. So it all unfolded quite naturally."
评语：电锯 25. The chainsaw, The Texas Chain Saw Massacre (1974)
Tobe Hooper, director: "I needed an old saw. A saw that had character from age. One of the investors in the movie happened to have an old saw in his garage. [We had] just that one. Of course production-wise, that's almost unheard of. That thing could've been damaged, stolen, ruined. Leatherface fell with it a couple of times. We were a bit cavalier about being careful with it. So we got another chain for the saw and took all of the teeth off it. Then we took the clutch out of the saw itself to see what would happen. If you rev the engine, the chain without that piece would naturally vibrate around in a circle. So the film only reads that it's spinning. That made it safe for running with it.
"But when it came to a shot where we had to cut something with the saw, we had to put the clutch back in and the chain with teeth back on. It has to go through Leatherface's pants when he falls at the end of the film. So the clutch goes back in and a piece of metal goes on his leg and underneath there's meat wrapped in plastic with a lot of stage blood inside it. It ripped through the steak and down to the steel plate that heated to up to maybe 150 degrees because of the friction. His reaction of pain was real. It burnt him. Not real real bad, but enough to make him jump. I didn't want [the actors] calm at all. It was a miserable shoot, and that misery brought out pure and real fear. I later heard from [Gunnar Hansen] giving interviews that doing that final shot was his last opportunity to kill me, that he worked that dance up, swinging that saw close to me. It's right up to the camera. So ending on that, just cutting to black at the peak of the hysteria was totally natural. You're left breathless."