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1、“As soon as I read my first of the books, Tintin never strayed far from my thoughts and heart. I knew Tintin and I were destined for some kind of collaboration . . . and a journey of discovery.”- Steven Spielberg, DirectorFrom Oscar winning director Steven Spielberg and Oscar winning producer Peter
2、Jackson, two of todays most visionary storytellers, comes a 3D motion picture event: an epic, globe-hopping quest that spans hidden mysteries, menacing criminals and ancient secrets - and brings to dazzling, life the classic escapades that have enthralled generation after generation with their one-o
3、f-a-kind mix of action, humor and scintillating tale-spinning in The Adventures of Tintin. Based on the internationally beloved and irrepressible characters created by Herg, the story follows the unquenchably curious young reporter Tintin (Jamie Bell) and his fiercely loyal dog Snowy as they discove
4、r a model ship carrying an explosive secret. Drawn into a centuries-old mystery, Tintin finds himself in the sightlines of Ivan Ivanovitch Sakharine (Daniel Craig), a diabolical villain who believes Tintin has stolen a priceless treasure tied to dastardly pirate named Red Rackham. But with the help
5、of his dog Snowy, the salty, cantankerous Captain Haddock (Andy Serkis) and the bumbling detectives Thompson & Thomson (Simon Pegg and Nick Frost), Tintin will travel half the world, outwitting and outrunning his enemies in a breathless chase to find the final resting place of The Unicorn, a shipwre
6、ck that may hold the key to vast fortune . . . and a ancient curse. From the high seas to the sands of North African deserts, every new twist and turn sweeps Tintin and his friends to escalating levels of thrills and peril, proving that when you dare to risk everything, theres no limit to what you c
7、an do.Paramount Pictures and Columbia Pictures Present in association with Hemisphere Media Capital and Amblin Entertainment, Wingnut Films, and Kennedy/Marshall Production of A Steven Spielberg Film, The Adventures of Tintin. The film is directed by Academy Award winner Steven Spielberg from a scre
8、enplay by Steven Moffat and Edgar Wright & Joe Cornish based on “The Adventures of Tintin” by Herg. Produced by Steven Spielberg, Peter Jackson and Kathleen Kennedy, with Ken Kamins, Herg Estates Nick Rodwell and Stephane Sperry as executive producers. The co-producers are Carolynne Cunningham and J
9、ason McGatlin. Spielberg is joined by his Oscar-winning collaborators, editor Michael Kahn, A.C.E. and legendary composer John Williams. The films acclaimed international ensemble is led by Jamie Bell (Billy Elliot) as Tintin, Andy Serkis (The Lord of the Rings Trilogy) as Captain Haddock, Daniel Cr
10、aig (Quantum of Solace) as Sakharine, Nick Frost (Shaun of the Dead) and Simon Pegg (Star Trek) as Thomson & Thompson, Toby Jones (the Harry Potter films) as Silk, Mackenzie Crook (Pirates of the Caribbean Trilogy) and Daniel Mays (The Bank Job) as Tom and Allan, and Gad Elmaleh (The Valet) as Ben S
11、alaad. Weta Digitals Oscar winning visual effects team includes senior visual effects supervisor Joe Letteri, visual effects supervisor Scott E. Anderson and animation supervisor Jamie Beard, along with art directors Andrew Jones and Jeff Wisniewski. The Adventures of Tintin will be released worldwi
12、de in RealD 3D and IMAX 3D, from Paramount Pictures and Sony Pictures Entertainment.A TIMELESS ADVENTURE MEETS TWO CONTEMPORARY MASTERS Herg, Steven Spielberg and Peter JacksonIn a series of heart-stopping adventures around the globe, the graphic novel character Tintin became a planetary sensation.
13、The intrepid reporter with the funny coif and the courage to always do the right thing in the most suspenseful situations has ever since been a worldwide hero to young readers and a vivid inspiration to artists. The Tintin graphic novels, written and drawn by Georges Remi under the pen name Herg, ha
14、ve crossed diverse cultures, multiple generations and even war-torn borders. A pop cultural phenomenon of lasting magnitude, they have been translated into more than 80 languages; and have sold more than 350 million copies . . . and counting. Yet for all the far-flung places Tintin has traveled - fr
15、om Peru to Tibet to the moon the one place he has yet to venture is the modern movie screen. That changes with The Adventures of Tintin, which not only brings the series to worldwide movie audiences for the first time but does so in an inventive new way that pushes the creative envelope of 21st Cent
16、ury storytelling while staying true to Hergs inimitable and timeless visual style. The source of the series sustained power has always been the ways its scruffy, lovable characters and its passport to exotic lands and courageous battles against wrongdoers have tied together people who experienced hi
17、s adventures with a common bond. Thats what happened with Steven Spielberg and Peter Jackson, who are brought together for the first time as collaborators by their passion for Hergs tantalizing tales. Each came across Tintin at entirely different times and in divergent ways. Yet their passion for th
18、e characters wide-open cinematic possibilities is the same. Neither could resist the excitement of trying to fuse the unbridled fun of Hergs drawings with state-of-the-art movie technology and inspired, emotion-rich performances to create an original motion picture experience befitting of Tintins va
19、st legacy. “Tintin is an eager reporter who chases fragments of clues that suddenly blow up into these amazing, globe-trotting adventures,” Spielberg describes. “What makes him so intriguing is his relentless pursuit of the truth, although that always leads him down some treacherous paths. It often
20、seems hes gotten himself into terrible trouble, but somehow, he finds a way out. From the first reading, I knew that Tintin and I were destined for some kind of collaboration.” Peter Jackson grew up with Tintin and had been influenced by his adventures. As a boy in New Zealand, long before he began
21、a filmmaking career that includes the most lauded fantasy trilogy in movie history: The Lord of the Rings series, Jackson devoured each Tintin book he could get his hands on, even struggling through the French editions.“When youre young, you can easily imagine yourself going on these adventures that
22、 Tintin gets himself into,” Jackson notes. “They tap into that fundamental sense of adventure we all have.” Both men saw the cinematic potential of Tintin embedded in its DNA. “We were all struck by the fact that Herg was telling stories through what were, in a sense, these beautiful storyboards tha
23、t were simple, clear and forceful in their narrative power,” says Spielbergs long-time partner, Kathleen Kennedy, who would ultimately pair up with Jackson to produce. Spielberg first reached out to Herg as early as 1983 and found the Belgian artist deeply enthusiastic about placing his clever chara
24、cter in the filmmakers hands. But tragically, Herg passed away before the two could meet. Later, his widow, Fanny Rodwell, fulfilled his wishes, granting the rights to Spielberg. “Herg picked Steven as the only director he thought could do a film based on his work,” says executive producer Stephane
25、Sperry, who has been involved with the Tintin property for decades and a fan for even longer. “And Steven has always been respectful of that.” The filmmakers worked closely with Nick and Fanny Rodwell, consulting with the two careful custodians of Hergs legacy and experts on all things Tintin. “The
26、most important thing was to honor Herg and get as close to his very unique sense of palette and portraiture as possible. Every single panel of his told a story in cinematic terms,” observes the director. “There was kinetic energy in every pose and action, and it was almost as if he was trying to squ
27、eeze 24 frames into a single frame, and succeeding. That was, I think, the genius of Herg. Each of his stories had the essence of a movie and now we could be true to that.” Spielberg was convinced right away that Jackson was the ideal partner. “Peter told me, If you were here right now, you would se
28、e over my shoulder the entire series of Hergs books, and I would love to be a part of this,” Spielberg recalls. “And thus began our process of finding a way to capture that artistic style that so defines Herg and Tintin, and bring it to the screen.” Jackson couldnt wait to tackle the task. “I was th
29、rilled that Steven invited me onboard,” he says. “Steven really is quite similar to the Tintin character,” Jackson comments. “Hes young at heart. Hes very curious. He has a great love of adventure, and his sense of humor pretty much matches what Herg brought to Tintin. Its a perfect match.”In additi
30、on to serving as producer for the first film, Spielberg asked Jackson if he would direct the second film in the series. Jackson agreed, and with the blessing and cooperation of Fanny and Nick Rodwell, and the estate of Herg, the adventure began. Fanny, who is now the President of the Herg Studios in
31、 Brussels, explains, “It was a special honor for us to be associated with these exceptional, creative filmmakers who had our full confidence to bring Tintin to his biggest adventures on the biggest screens. Herg himself once said, I consider my stories as movies. How prophetic!” In close consultatio
32、n with the Herg Estate, the filmmakers enlisted screenwriters Steven Moffat and the team of Edgar Wright & Joe Cornish to craft the adaptation. To introduce audiences to the maximum breadth of Tintin and his various allies and enemies, the filmmakers decided to combine three favorite Tintin books -
33、The Crab with the Golden Claws, The Secret of the Unicorn and Red Rackhams Treasure into a singular plot that would keep modern moviegoers exhilarated. The books were the screenwriters lodestar. “Hergs stories pull you in with vibrant colors and adventures, but they are so much more theyre filled wi
34、th moral concepts, a sense of travel and exoticism, while always introducing you to the grandness of the world and to scientific ideas. I think thats one of the reasons theyre so central to millions of childrens imaginations and we wanted to bring all that scope to the screenplay,” sums up Cornish.
35、They were also guided by the conceptual approach of Spielberg and Jackson who saw elements of film noir, Hitchcockian suspense and special-effects thrillers deep inside Hergs playful line drawings and brought them to fore. The result, Spielberg says is “part-mystery, part-detective story, as well as
36、 a pure unapologetic adventure, all built around a tremendous story of friendship, loyalty and belief between Captain Haddock and Tintin.” DESIGNING THE WORLD OF TINTINThe first Steps In Moving from Page to ScreenSteven Spielberg and Peter Jackson share not only fertile imaginations but also a drive
37、 to venture into frontier realms. From extra-terrestrials to Middle Earth, they have forged unforgettable characters and worlds so breathtakingly original they could never have been experienced outside a movie theatre. And yet, neither had ever applied their skills and artistry to a 3D animated moti
38、on picture. Spielberg and Jacksons fealty was first and foremost to the Tintin legacy and their shared passion for Hergs transporting drawing style inspired the visual design into a fully animated CG film from day one. Early on, while the script was still being written, the art department and animat
39、ion team were set up, and collaborators on both sides of the Pacific began brainstorming ideas for the quirk-filled characters and spicy settings for Tintin. One of the first big decisions they made, one that would inform everything that followed, was to keep the period and texture of the story unmo
40、ored in time set in a kind of eternal noir universe, with dark shadows lurking around every corner. “These stories could take place in the 30s, the 50s, the 80s or now,” notes Spielberg, “and thats part of their beauty that we wanted to preserve. What we didnt want in our movie were cell phones, tel
41、evision sets or modern automobiles. Our design cues came first from Herg, and not from any presumed period or setting.” Adds Jackson: “We wanted the film to have the retro, edgy feel of a crime drama. Thats not Tintin himself, but the world that Tintin lives in. Theres so much suspense in the story
42、that we felt we could incorporate people with trench coats, hats down in the rain, street lights casting shadows on the wet pavement - thats the world weve created for our Tintin to live in.” Next, the artists, designers and animators started envisioning what Hergs art would look like if it existed
43、in three-dimensional space. Despite having been drawn decades ago, the artwork lent itself organically to this, says Richard Taylor, Weta Workshops co-owner and the films design and effects supervisor. “When you look at Herges black pen drawings with watercolor washed in flat on the page, all you ha
44、ve to do is close your eyes and begin to imagine the world of Tintin. You cant help but see it in 3D,” he muses. It worked so well in part because Herg had left behind the rules of pure reality when drawing Tintins escapades in the first place. “The lines of what Herg drew were not necessarily accur
45、ate,” says senior visual effects supervisor Joe Letteri. “He wasnt trying to draft exactly what he saw and we wanted to maintain those exaggerated qualities in the same way that he did. A big part of the design study was to look at what he did, but then to imagine it from different points of view. A
46、nd that allowed us to start building up a vocabulary of how you would construct his worlds in a wholly 3D animated realm.”To bring Hergs world alive so audiences can sense the very wind whipping through the virtual air, the art department researched imagery and locations that might represent the var
47、ious environments where Tintin, Snowy and Haddock find themselves, from the boiling high seas of a stormy ocean to the shifting pink sands of the Sahara Desert. A favorite of the designers was Hergs imaginary city of Bagghar, Morocco, a seductive realm of Far East intrigue. “We looked at many differ
48、ent styles of North African structures, patterns and archways,” says conceptual designer Rebekah Tisch, “and were able to use fascinating shapes and colors to create Bagghar. It left me with a real passion to go see the world and I hope that people watching Tintin will feel that same fusion of excit
49、ement and color.” On an invitation from Fanny and Nick Rodwell of the Herg Foundation, lead conceptual designer Chris Guise traveled to Brussels to conduct close-up research into Tintins native locale, soaking in the atmosphere that led to the creation of his apartment at 26 Labrador Road and the sil
