서사 영화 제작에서 잔혹한 전투 장면 안무하기

### 잔인함의 안무: 트로이의 장엄한 전투 장면 제작 과정
* ⚔ 대본은 어려운 도전이었지만, **사이먼 크레인의 전투 장면 안무**는 놀라울 정도로 훌륭했고, **잔인하고 사실적인 전쟁 묘사**를 만들어냈습니다.
* 🏹 전투에서 주로 사용되는 무기는 **창과 방패**로, 제작진은 배우와 스턴트맨이 일반적인 검 대신 이 무기를 효과적으로 사용할 수 있도록 훈련시켜야 하는 과제에 직면했습니다.
* 🗡 영화에서는 사실성을 유지하기 위해 청동검이 휘어져 상처가 잘 나지 않고 심한 부상을 입는 경우가 많았던 역사적 현실을 반영하여 **고무 검**을 사용했습니다.
* 💥 묘사된 폭력은 의도적으로 노골적이었으며, 잔인한 스토리의 세계를 반영하기 위해 **"매우, 매우 잔인하게" 설계된 전투**가 필요했습니다.
* 🎭 약 800명의 군인들이 각자의 역할을 위해 훈련을 받았으며, **대규모 전투 장면에서 트로이와 그리스 전사들을 설득력 있게 표현**할 수 있도록 엄격한 훈련을 거쳤습니다.
* 🌪 허리케인으로 트로이 성벽이 파괴되어 **헥토르와 아킬레우스의 중요한 전투 장면 촬영 직전**에 세트를 완전히 재건해야 하는 등 제작에 큰 차질이 생겼습니다.
* 🏋 배우들의 신체적 요구는 강렬했고, **강렬한 햇빛 아래에서 촬영하는 까다로운 조건**과 역할의 신체적 특성을 다루기 위해 광범위한 훈련이 필요했습니다.
* 🎬 궁극적으로 영화의 전투 안무는 **전투를 통해 캐릭터를 드러내고 배우들의 기술과 헌신**을 보여주는 것을 목표로 했으며, 각 전투 장면은 **전쟁의 생생한 잔인함**을 강조하기 위해 제작되었습니다.

트로이의 잔혹한 전투 안무는 사실성과 신체적 리얼리티를 향한 배우들의 헌신을 보여줍니다.

good okay let's shoot that. Here we go. My first thing when I read the script was, Oh Christ, how are we going to do that? Simon Crane, he was instrumental in getting these, these, well, I think, amazingly choreographed battles together. The work they've done in those battle scenes is just unbelievable. The story is a love story, but above all, it's a war. They fought with spears, they fought with swords. It was brutal, brutal, brutal. When you're reading about what weapons they had and what horrific injuries they suffered, it's really key to keep it all real. [Applause] [Applause] Uh, the main instruments of war were spear and shield. Most actors and stunt men want to work with just swords. The stunter rangers had a kind of challenge there, trying to get the stuntmen and actors to work more with spears. We had silicon heads of dummies that we were taking spears right through from one side to the other. The Iliad describes Hector's lance as being five

and a half meters long. Well, you just, you know, we made one just to prove the point that you couldn't work with it. So, you keep bringing it down until you can get a length that you think, well, this functions. Every time we make something, we all go out into the yard and fight each other to see if it works. We've made this so Brad can have the shield in his hand, do a tracking shot behind him, see in the distance the Viagra's character throw or mime to throw the spears. Visual effects would CG the movement of the spears, and we would have the tips come through the shield, one there and one there, as close to Brad as he likes. Not everyone had swords, and when they did fight, they're often made of bronze, so they would often bend. So, in the film, we were actually using rubber swords, and some of them did bend, but that was very realistic. And knowing that the swords are made from bronze, they're going to do more damage in a particular way. So, that's the way we created the effects.

to do more damage in a maybe in a crushing um of limbs manner rather than a cutting like a samurai sword would be extremely extremely sharp. So even if you don't cut somebody and you hit them across the arm, you're going to break that bone. If anyone hit someone else with one of these, I mean, it wouldn't kill them outright, but you know, if they cut themselves badly enough, it would lead ultimately to their death. It must have been a very, very brutal, horrible, slow way to die. They used to, you know, fire arrows, you know, it's the bow and arrow background, ready and action. If people got arrows in them, it wouldn't kill them. They'd fall down maybe, but you don't die straight away. One of the problems with arrows is that they weigh, and so you can put them into a prosthetic, and they want them pointing out, and they drop. So we made the arrows out of paper. We fired them out of air cannons that were specially made so we could fire

10 arrows at a time. The amount of gore, blood, and decapitation, sticking of swords in people, was quite extreme. My edit from Wolfgang Rice at the beginning was, you know, as much as possible. The violence in the story is particularly necessary because it's a reflection of the world they were in. We weren't trying to glorify it; we're just trying to show realistic action. One group is on one side, another group is on the other side. They're armed with spears and a few shields, and they run together. What do you think happens? It's going to be very, very gory. My job is to prepare the soldiers for their roles as Trojan or Greek warriors. We've got about 800 soldiers, 300 of them are Bulgarians, which we bought from Sofia, the capital of Bulgaria, and the other 500 are Mexicans. The backside of that pen are four flags. There isn't a figure on them, but it's a

b c [Music] We've had about three weeks to prepare these guys to be fully trained soldiers. They've started without any kind of weapons at all, and then after about a week, they go on to using weapons. And then after that, in the third week, we actually take them down onto the set and start trying to get into the format that they will actually be using. Treat these as real spears. They're dangerous. That's it, and then recoil, and then over the top. Attention, good, excellent. One more time, this time more aggressive, stronger with the spears. And if you're getting killed, you've got to fall down and die. All right, aggressive, no aggressiveness, kill him, then go again, kill him more, yeah. Open up the shield a little bit more so that there's something for him to hit. Do not get too close, yeah, to each other. Sometimes when you get too close, you know, remember you've got a spear in your hands, so always try and keep the distance, yeah. If you guys quit concentrating for two seconds, the whole day is [__] up.

so it's got to be very serious. All right, when action, everybody goes. We've got the psychological actions and everybody's on the same page, angry, angry action, action. So it's a life and death situation. It's your him, yeah. So you have to be really aggressive as if it's your last move, yeah. Prepare to match, prepare for battle, move back into a position of, um, so you got some space, battle positions there, and then charge on this [Applause]. Most of the Mexican scenes that we're shooting here are huge battle scenes where we have two enormous armies coming together and a car crash together, and that has to be done with a great deal of control [Applause]. Good, good, good guys. Any epic film like Troy is going to be difficult, but this was extremely difficult just because of the numbers of people, the locations where we were in. They were extremely hot, and the costumes that people were wearing, the vision of it all is harsh sunlight and

you fight with your armor, and you're sweating, and it feels painful. That's what Hector says to Paris. He says, If you see men dying, I have. It's nothing glorious about it, and our battles are not glorious. You know, we were working six days a week. There were two units shooting at the same time, six days a week. It takes its toll, especially, you know, filming for five months. We're gonna keep doing the same as yesterday. There's gonna be some fireballs thrown by the Greek encampment, so you're gonna keep moving all the time until you listen. God, we had one there that sort of went bouncy-bouncy. It just looked different. Yeah, and you know, and then that feels this whole frame. The rest is visual effects. So nobody runs straight to the balls. Everybody runs away from the balls, and then you find another one on your way. Avoid that one. Near misses. Okay, that's it, guys, so get ready. And we do a rehearsal when we can. Is everybody ready? Rehearsing.

Everybody set back and one, two, three, four, five. Okay, cut it. Okay, here we go. Okay, working on a beach at night with those sort of inclines in sand for three months, and then at night this whole other element kicked in of the creepy crawlies. Everyone's sort of keeping near the lights. I remember standing there one night, I was standing next to the camera, and I've looked down at the operator's leg, and he hasn't noticed, but he's got a spider on his boot being eaten by a scorpion. Oh my god, have a look. So there's all those elements. It was very physically hard. It was a hardship. We did a lot of training with the actors, you know, especially Eric Bana and Brad Pitt in that. They had a lot of fighting to do, and you know, there's one main fight between the two of them. We were just a week before finishing this movie. We had just the big fight between Hector and Achilles left. We want to do it at the very end so that all the other big scenes are out.

of the way we can completely concentrate now on the physical part, so no character work anymore for the actors. And right when we were ready to do that, a hurricane came and destroyed almost all of the wall of Troy with the gate and everything. An unbelievable huge set, and the fight had to take place right in front of this wall. And we decided there's no other way than rebuilding the whole set again. That took weeks and weeks. Of course, the hurricane came in, wiped out the wall of Troy. Plus, I got injured that weekend, so it was just not gonna happen. Brad, funnily enough, tweaked his Achilles tendon. And with what he does in his fights, he does lots of jumps and lots of running. And obviously, if he can't walk, he can't really do it. And the doctor told him, You cannot work for weeks and weeks. I think we've finished production sometime in September or so. Finally, finally, Brad was ready to do this fight in the middle of December, and it worked well. In Shakespeare's terms, it's sort of

the death of kings. It's the big moment. This is the monumental fight. Actually, even if we saw 50,000 already against 25,000, this between these two is the most spectacular and the most fascinating and frightening of them all. You see absolute rage versus someone of absolute respect. I've seen this moment in my dreams. The Hector character represents equality. He is under attack from someone who has pinned all his life's frustrations and anger on this one man, and he's gonna make him pay. He's gonna destroy him. There are no pacts between lions and men. The thing that's most exciting about it is it's the actors doing it. I mean, that's true of all the fights in this. It's the revelation of character through the fight, through the situation, rather than it being just a sort of a spectacle of moves. The fight scenes themselves, I know they've spent months and months and months choreographing them, and we obviously spent a lot of time actually learning them, but I think the hardest part is is

the work that they've put into creating them because they needed to choreograph fights not only look spectacular and that work but that actors can do x501 takes six okay and action when you read the script and it says oh achilles fights in a godlike manner you think that's very easy to write thank you very much and now you've got to come up with a totally new sort of style of fighting. I looked at all different styles of fighting at that time. I was working with Thai stunt people, so I got them to prepare a fight. So I looked at that. That obviously wasn't what we wanted, but there were bits in it that were good. We used a speed skater as an image, um, Carl Lewis, the sprinter and long jumper, because in one of the first fights he just moves and moves really quickly and with a great economy of action. It's not martial arts, and it's not not matrix or Hong Kong fury at all, but we sort of used a bit of that just in his body.

reaction say he's always trying to lunge with the sword, but he uses it like a box set in that he faints maybe with one hand while he brings in like an uppercut with the sword. He'd always try and get in over the top of the other person's shield to try and bring the sword through the back of the neck. It was a real, you know, Achilles showcase to show off his style of fighting, and Hector also showed that he's totally skillful as well. Hector has pretty much the most fights of anybody in the movie. Rather than having something like Achilles, which is very stylistic, his skills have been learnt through fighting. I like the fighting in this film because it's quite brutal, and it's not like a martial art. There isn't an exact place to hit someone, but everything's a kill shot, just no, everything is a kill shot, got it. The worst nightmare for any sort of fight group is somebody getting hurt. It pretty much all fight choreographers will avoid doing any attacks directly to the face.

so nothing in the 8x10 or the headshot because you're going to change somebody's career. Obviously, we work with blunt weapons, but I mean, they would still hurt if they hit you. Eric got hit. He got a bloody nose once, which looked—it was good because it was the end of the fight. No, it's not. It wasn't good. No injury is good, but it was actually in character or in keeping with continuity. Essentially, you learn that you can never train too much because ultimately the shoots are very long, and to get through it mentally and physically, you do need to be fit. There's just no shade, and the sun is so intense, and then it's reflected off the ground as well because it's all the stone. And then there were days when I would see 200-pound grips just do a header. Was it was not uncommon. If you see the fight, you just can't believe that these are actors who are doing it. They're not stunned man hiding somewhere, and they do it for

the actors. It's the actors. They can be very proud of it, and I am too for them. And if you talk about blood, sweat, and tears, about the reality of a fight, that's one [Music].

Troy | Behind the Scenes

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잔혹한 전투 장면 안무 연출하기

영화 속 전투 장면은 사실감과 전쟁의 잔인함에 중점을 두고 세심하게 안무되었습니다.

창과 방패가 주요 무기로 사용되었으며, 배우와 스턴트맨이 창과 방패를 다루는 데 어려움을 겪었습니다.

시각 효과와 실제 기술을 사용하여 창과 화살의 착각을 불러일으키고, 고무 검을 사용하여 전투 장면의 사실감을 더했습니다.

트로이의 장대한 전투 장면 준비하기

극 중 폭력은 등장인물들의 거친 세계를 반영하여 사실적으로 묘사됩니다.

이 작품에는 불가리아 인과 멕시코 인이 섞인 800명의 군인이 3주간의 엄격한 훈련 과정을 거쳤습니다.

전투 장면은 사실적이고 임팩트 있는 전쟁 묘사를 목표로 격렬한 협동과 공격성을 담고 있습니다.

전투 장면 촬영은 배우들이 5개월 동안 일주일에 6일씩 일해야 하는 육체적으로 힘든 촬영이었습니다.

허리케인으로 인해 촬영이 중단되어 트로이 성벽이 파괴되고 마지막 전투 장면이 지연되기도 했습니다.

감독과 브래드 피트 모두 부상을 입는 등 제작진은 추가적인 어려움에 직면했지만 결국 12월에 전투 장면을 완성했습니다.

아킬레스와 헥터의 장대한 싸움

아킬레스와 헥토르의 싸움은 영화에서 가장 강렬하고 극적인 순간으로, 절대적인 분노와 존중을 상징합니다.

싸움 장면의 안무는 행동을 통해 캐릭터의 본성을 드러내는 것을 목표로 수개월에 걸쳐 준비했습니다.

격투 스타일은 전통적인 무술보다는 잔인한 킬샷 동작에 중점을 두고 다양한 분야의 요소를 결합한 독특한 스타일입니다.

격렬한 전투 장면 촬영의 어려움

격투 장면을 촬영하는 것은 육체적으로 힘들 수 있으며, 배우들은 격렬한 환경과 부상의 위험에 직면하게 됩니다.

장시간의 촬영과 강렬한 햇빛으로 인해 출연진들은 체력과 정신적 준비가 매우 중요합니다.

이러한 어려움에도 불구하고 배우들은 자신의 연기에 자부심을 느끼며 사실적인 전투 시퀀스를 만들기 위해 힘든 상황을 견뎌냅니다.