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SciFi.comにインタビューが掲載
「グランド・マスター賞 受賞」
http://www.sydmead.com/v/01/appearances/ より説明文。
●Scifiwire / Scifi.com
The Spectrum Advisory Board has named Syd Mead as the
receipient of this year's "Grand Master Award", presented each year
to a living artists for carrer excellence.
Writer John Joseph interviewed Syd Mead on line about the award.
（以下、全文）
Blade's Mead Talks Art
Visual futurist and Blade Runner concept artist Syd Mead—who was recently named a Spectrum
Grand Master—told SCI FI Wire that he didn't expect his work on that seminal SF movie to be
so well-regarded. "I worked on Blade Runner as a response to the script and to [director]
Ridley Scott's incredible eye for scenic artistry," Mead said in an interview. "I really
don't think anybody—including the top names in the cinematic industry—ever predicted that
'their movie' [would] become an iconic example of cinematic impact. I'm sure that there
could be some egos that large, but my job was to assist and illustrate Ridley Scott's vision."
Mead also worked on James Cameron's Aliens and other films. He said that the most
challenging was 2010, the 1984 sequel to Stanley Kubrick's SF classic 2001: A Space Odyssey.
"On Blade Runner (not to diminish either my contribution to that film or the chance to
work with one of the movie industry's most talented directors) I caught on immediately
as to the visual thrust of the film," Mead said. "On 2010, I had a much more visceral
involvement with the design of the Leonov [spaceship], the thruster, the one-man rocket
cabinet, the control consoles and other interior sets. I was on the (then) MGM lot
several times a week, conferring with [director] Peter [Hyams], and over to the model
shop to confer with Mark Stetson and his crew as they were constructing the hero model
of the Leonov, a marvel of detail about 15 feet long."
When Mead sets out to create something for a film, he said the process starts, obviously,
with reading the script. "More importantly, working one on one with the director,"
he said. "I have a face-to-face meeting, take notes, listen to his intent on what he
envisions his cinematic story to look like. Then, using my industrial design background,
I solve the design problem like I would for any client that wanted a particular kind of
look. After all, the story takes place in its own world. That world needs transport,
probably architecture, props, ambience. All that is deliberately arrived at via classic
industrial design methodology."
To Mead, SF/fantasy is "reality ahead of schedule," he said. "The story may be set in
the future or be about the future becoming embedded in the present or be totally fantastic,
as an imaginary tale," he said. "My contribution is applying a mechanistic overlay to the
items I'm requested to design that illustrate the story. I don't do dungeons and dragons or
fairy-dust scenarios. I am hired to contribute hardware and, in some cases, the idea for
interior sets and scenery sets. I am absolutely a fan of SF/fantasy, because I believe that
by imagining fantastic futures we seed the social mentality with the desire for a future that is optimum and elegant." —John Joseph Adams
不本意な点があったかどうかは、ともかくデザインワークとしてのプロジェクトとしては
「ブレードランナー」よりも「2010」のほうが相当大変だったようです。
そのリアリズムとデザイン・クオリティからも、「エイリアン2」と同様、
もっとフォーカスされても良いのでは、と思います。
記事や雑誌、インタビューでも「2010」の扱われる比率は随分少ないのが現状。
以前ココでレゴブロック等で少しだけ載せましたが、今後「2010」に関して
もう少し露出してもいいのでしょう。近々にご本人の来日があるので
ご機嫌を伺いながら探ってみようと思います。
カースタイリングさん、「Future Concepts」でも取り扱われましたが
次回は「2010」のマシン環境などに迫ってみてはいかがでしょうか。
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