隔離期結束后，電影業如何回歸正軌？
Radhika Marya
2020-05-09
如今，各行各業都感受到冠狀病毒大流行的影響，影視行業受到的影響尤其大。
全球范圍內無數制作擱置，不管是大制作還是獨立影片。不過，一些在偏遠地區的拍攝工作仍在私下進行，一些國家也在考慮允許恢復拍攝。與此同時，電影制作行業的人士也在認真思考下一步。
隔離期為了節省時間，制片公司主要做劇本潤色，也抓緊機會和編劇、演員以及導演進行溝通。紐約制片聯盟副主席，FilmNation Entertainment（曾拍攝《降臨》、《大病》）執行副總裁邁克爾·杰克曼表示，某些情況下也會進行視頻試鏡，或為將來的拍攝尋找場地。
“我們開始聽業內的意見，人們希望7月中旬、7月下旬、8月、9月能重新投入前期制作或正式制作，”杰克曼告訴《財富》雜志。“然而顯然要受現實限制。”
杰克曼說：“快速精確地檢測是否感染”可能對恢復制作幫助最大。英國廣播公司（BBC）和明星兼導演泰勒?佩里等人之前考慮過將演員和劇組共同隔離制作電影，然而后來放棄。杰克曼承認，實施起來可能更復雜，不過也并非完全不可能。
“如果真這么做，演員和劇組很長時間都不能跟家人見面，犧牲更大。不過可以當做在偏遠地區拍電影一樣，做好隔離準備然后拍攝，”他說。
但隨著恢復制作，加強檢測和隔離并不是疫情期間唯一要注意的。片場可能出現一些小變化，甚至可能永久持續下去。
“電影公司顯然都在討論，從如何防護，到化妝師和發型師跟演員工作時應該戴什么……”杰克曼還補充說，參加現場拍攝的人可能要用自己的工具，避免共享。
餐飲和后勤服務也將發生變化。杰克曼說，參與電影拍攝的人不能再排隊拿自助餐，飯菜可能要單獨準備，而且很可能由穿著防護服的餐飲人員分發。
比如順手就從餐桌上抓起M&M豆吃，“這種情況不會再發生了，”他說。“會更加注意，可以說我們會注意各種小細節，避免人們感染病毒。各方面細節都在研究。”
連聘用臨時工的做法可能也會改。
“我們需要200人時，是真的找200人來，還是只找20人，然后考慮用特效做成更多人？“他說。“很多情況都在改。”
其他考慮中的調整包括：限制核心人員數量，其他人員可遠程工作；也可以使用虛擬現實頭盔查看拍攝地；拍攝前、拍攝中和拍攝后讓清潔人員給設備消毒。制片方也在研究不同的地點適合哪些做法，杰克曼也指出，適合紐約的做法在洛杉磯可能行不通。
杰克曼希望，聚集工作等行為最終能變回疫情前的狀態。如果病毒的威脅性變低或者研制出疫苗，可能會停止檢測。但從長遠來看，其他做法可能會繼續。
“希望人們聚在一起的工作方式能恢復正常，我認為（行業）會很歡迎，”他說。“但很多疫情期間的做法會保留，如果再遇到類似情況，就不必再費心安排。”
杰克曼和公司都盼望盡快復工。其中一部片子《The Map of Tiny Perfect Things》靠著人們加班加點，趕在疫情引發的停工前完成拍攝。另一部《遁世者》在停工時正在蒙特利爾進行前期制作，公司仍與劇組保持聯系。
盡管有人擔心，隨著制作推遲，復工時從拍攝點到特定工作人員等資源都會很緊張。但杰克曼說，還好公司規模小，能迅速運轉調整。
此外他指出，很多電影行業的自由職業者突然失業，對這個行業來說這倒是個“好現象。
現在所有人都只能等，為未來仔細規劃。
“我認為，當前的情況迫使每個人思考如何適應，如何靈活應對，如何變得更聰明，更有創造力，如何相互支持，如何過守望相助挺過現在這種難關，”杰克曼說。“這點很重要。”（財富中文網）
譯者：馮豐
審校：夏林
如今，各行各業都感受到冠狀病毒大流行的影響，影視行業受到的影響尤其大。
全球范圍內無數制作擱置，不管是大制作還是獨立影片。不過，一些在偏遠地區的拍攝工作仍在私下進行，一些國家也在考慮允許恢復拍攝。與此同時，電影制作行業的人士也在認真思考下一步。
隔離期為了節省時間，制片公司主要做劇本潤色，也抓緊機會和編劇、演員以及導演進行溝通。紐約制片聯盟副主席，FilmNation Entertainment（曾拍攝《降臨》、《大病》）執行副總裁邁克爾·杰克曼表示，某些情況下也會進行視頻試鏡，或為將來的拍攝尋找場地。
“我們開始聽業內的意見，人們希望7月中旬、7月下旬、8月、9月能重新投入前期制作或正式制作，”杰克曼告訴《財富》雜志。“然而顯然要受現實限制。”
杰克曼說：“快速精確地檢測是否感染”可能對恢復制作幫助最大。英國廣播公司（BBC）和明星兼導演泰勒?佩里等人之前考慮過將演員和劇組共同隔離制作電影，然而后來放棄。杰克曼承認，實施起來可能更復雜，不過也并非完全不可能。
“如果真這么做，演員和劇組很長時間都不能跟家人見面，犧牲更大。不過可以當做在偏遠地區拍電影一樣，做好隔離準備然后拍攝，”他說。
但隨著恢復制作，加強檢測和隔離并不是疫情期間唯一要注意的。片場可能出現一些小變化，甚至可能永久持續下去。
“電影公司顯然都在討論，從如何防護，到化妝師和發型師跟演員工作時應該戴什么……”杰克曼還補充說，參加現場拍攝的人可能要用自己的工具，避免共享。
餐飲和后勤服務也將發生變化。杰克曼說，參與電影拍攝的人不能再排隊拿自助餐，飯菜可能要單獨準備，而且很可能由穿著防護服的餐飲人員分發。
比如順手就從餐桌上抓起M&M豆吃，“這種情況不會再發生了，”他說。“會更加注意，可以說我們會注意各種小細節，避免人們感染病毒。各方面細節都在研究。”
連聘用臨時工的做法可能也會改。
“我們需要200人時，是真的找200人來，還是只找20人，然后考慮用特效做成更多人？“他說。“很多情況都在改。”
其他考慮中的調整包括：限制核心人員數量，其他人員可遠程工作；也可以使用虛擬現實頭盔查看拍攝地；拍攝前、拍攝中和拍攝后讓清潔人員給設備消毒。制片方也在研究不同的地點適合哪些做法，杰克曼也指出，適合紐約的做法在洛杉磯可能行不通。
杰克曼希望，聚集工作等行為最終能變回疫情前的狀態。如果病毒的威脅性變低或者研制出疫苗，可能會停止檢測。但從長遠來看，其他做法可能會繼續。
“希望人們聚在一起的工作方式能恢復正常，我認為（行業）會很歡迎，”他說。“但很多疫情期間的做法會保留，如果再遇到類似情況，就不必再費心安排。”
杰克曼和公司都盼望盡快復工。其中一部片子《The Map of Tiny Perfect Things》靠著人們加班加點，趕在疫情引發的停工前完成拍攝。另一部《遁世者》在停工時正在蒙特利爾進行前期制作，公司仍與劇組保持聯系。
盡管有人擔心，隨著制作推遲，復工時從拍攝點到特定工作人員等資源都會很緊張。但杰克曼說，還好公司規模小，能迅速運轉調整。
此外他指出，很多電影行業的自由職業者突然失業，對這個行業來說這倒是個“好現象。
現在所有人都只能等，為未來仔細規劃。
“我認為，當前的情況迫使每個人思考如何適應，如何靈活應對，如何變得更聰明，更有創造力，如何相互支持，如何過守望相助挺過現在這種難關，”杰克曼說。“這點很重要。”（財富中文網）
譯者：馮豐
審校：夏林
The effects of the coronavirus pandemic are felt in every type of industry, but the way it shut down film and television production was particularly abrupt.
Countless productions, from big budget to indie fare, have gone on hold around the globe. Some remote work continues behind the scenes, and some countries are considering allowing shoots to resume. In the meantime, those in film production are thinking hard about what comes next.
To save time while in isolation, production companies have focused on tasks like polishing scripts and connecting with writers, actors, and directors whose schedules were too busy before the pandemic hit. In some cases, video casting and contracts for future locations are being taken care of as well, says Michael Jackman, vice chair of the New York Production Alliance and executive vice president at FilmNation Entertainment (Arrival, The Big Sick).
“We’re starting to hear industrywide, that people are hoping for mid-July, late July, August, September to get back into pre-production or production,” Jackman tells Fortune. “It will obviously be subject to the realities of the world.”
“Readily available testing that is fast and accurate” would probably be most helpful to get productions back to work, Jackman says. Some, including the BBC and Tyler Perry, have thrown around the possibility of quarantining cast and crew together for productions—an idea that Jackman acknowledges might be more complicated, though not entirely out of the question.
“It will involve more sacrifice on the part of the cast and crew not seeing their families for a longer period of time, but we will treat it like we are on a film shooting in a remote location and isolate for the prep and shoot,” he says.
But testing and quarantining wouldn’t be the only practices in place as production resumes. There will likely be a number of small-scale changes on set that could even stick around permanently.
“Studios are obviously having these conversations—everything from what will people be wearing, what will makeup and hair artists… be wearing while they’re working on actors?” Jackman says, adding that those doing construction on set will likely be given their own tool sets to avoid sharing equipment.
Catering and craft service spreads will also see a change. Instead of lining up to make oneself a plate at a buffet, those on set will probably receive individually prepared meals, likely handed out by caterers in protective gear, Jackman says.
And forget being able to grab a handful of M&Ms from a craft services table. “That’s not going to happen that way anymore,” he says. “It’s going to be a much more—call it a curated process for all the little things that just sort of might be antithetical to protecting people from potential virus exposure. We’re looking at everything.”
There’s a good chance that even the practice of hiring extras will change.
“When we need 200 people, are we going to have 200 people in the crowd, or are we going to do 20 people in that crowd and start looking at CGI?” he says. “A lot of it is really evolving.”
Other possibilities under consideration include limiting the number of essential crew on a set while others monitor activity remotely; partially using virtual reality headsets for tech scouting locations; and using a cleaning crew to sanitize sets before, during, and after a shoot. And producers are also looking into which practices would serve different locations best—as Jackman points out, what works in New York City may not work in L.A.
Jackman hopes that some things, such as congregating in groups, can eventually go back to how they were pre-pandemic. Testing would also likely stop once the virus becomes less of a threat or a vaccine is developed, but other practices could remain in place in the long run.
“Hopefully the ability to gather in groups goes back to normal, and I think [the industry] would follow that,” he says. “But I definitely think a lot of these practices are going to stay because then you don’t have to enact them when you have a situation like this again.”
Jackman and his company are eager to get things moving as soon as they’re able. One project—The Map of Tiny Perfect Things—just barely completed filming before pandemic-induced shutdowns, after they worked overtime to finish ahead of schedule. Another, Misanthrope, was in pre-production in Montreal when it was shut down, but the company is staying in touch with the crew.
Though there are concerns that resources—from locations to specific crew members—will be in high demand as various delayed productions try to restart their work, Jackman says his company is small enough to be able to pivot and move quickly.
Plus, he points out, it would be a “good problem” for the industry, which has seen many of its freelance production workers suddenly unemployed, to have.
For now, everyone just has to wait, while planning carefully for the future.
“I think that this situation forces everyone to figure out how to be adaptive, how to be nimble, how to be smart, how to be creative, how to support each other, how to help each other through the complexities of this,” Jackman says. “And I think that’s important.”
