The disfigured Jangly Man and the bulbous Pale Lady look as if they've been simply lifted from the '80s children's books and dropped onto the big screen.

可怕的咆哮人與圓胖的蒼白女看起來就像直接還原 1980 年代的原著童書上的插圖。

But getting those creatures from 2D to 3D was no simple feat.

但把這些生物從 2D 轉換為 3D 一點也不簡單。

To do it, producer Guillermo del Toro and director André Øvredal enlisted the help of Spectral Motion.

為了達成任務，製作人 Guillermo del Toro 和導演 André Øvredal 尋求了特效製作公司 Spectral Motion 的幫助。

Through a process of sculpting, painting, and careful scrutiny of the original images, here's how the monsters for "Scary Stories" came alive.

經過一連串的雕塑、繪圖和仔細研究原圖，以下就是這些怪物怎麼從童書中活過來的過程。

This is Mike Elizalde, president and creative director of Spectral Motion.

這是 Mike Elizalde，Spectral Motion 的董事長與創意總監。

You've seen their work.

你一定看過他們的作品。

The film that we're known for is "Hellboy."

我們以參與製作電影《地獄怪客》而聞名。

Since then, we've done several other high-profile films, including "X-Men," "Fantastic Four," "Attack the Block."

從那時起，我們已參與製作了許多著名電影如《 X 戰警》、《驚奇 4 超人》與 《異星大作戰》。

We worked on the first season of "Stranger Things."

我們也參與了第一季的《怪奇物語》。

For "Scary Stories to Tell in the Dark," del Toro picked Spectral Motion to bring the book's iconic images to life.

在《在黑暗中說的鬼故事》，del Toro 選擇了 Spectral Motion 來讓原著中的插圖活過來。

Now, usually, when creating characters from an existing source, like in the case of "Hellboy," his team would have hundreds of illustrations to inform their designs.

通常呢，在創造一個有來源的角色時，像是《地獄怪客》，他的團隊會找數百張的圖片給他們的設計師們。

But for "Scary Stories," in most cases, they had only one illustration by artist Stephen Gammell.

但《在黑暗中說的鬼故事》裡，他們通常只有一張由 Stephen Gammell 所畫的插圖。

So, to start, Spectral enlisted special-effects designers Mike Hill and Norman Cabrera to help bring the monsters to life.

所以 Spectral 公司找來特效設計師 Mike Hill 與 Norman Cabrea 來幫忙製作這些怪物。

He was very vocal about, you know, the art direction, and we would constantly send him updates.

他對藝術製作方向都是很直言不諱的，而我們也會不斷給他最新進展的報告。

But what I recall is the first edict was they have to be as true to the source material as possible.

但我記得的是，第一個規則就是這些怪物越像原作品越好。

Like, that's bottom line.

這是底線。

They have to be a representation of that original art.

他們得有辦法代表原著。

So, we had the pictures everywhere as a constant reminder to everybody, like, this is what we're going for.

所以我們到處貼那些插圖來提醒大家：「這就是我們要的。」

You have one picture per story, but they were just such great, strong, iconic single images that it was just really important to capture that feel.

一個故事只有一張圖，但它們是如此的棒、強烈、有代表性，所以抓到它們的精隨是很重要的。

One of the first things they had to decide was what type of creature they were going to make.

首先要決定的事情為他們想製作什麼種的生物。

Instead of making puppets, Spectral Motion wanted each one to be a performer, which dictated how they would create the character.

與其製作布偶，Spectral Motion 想要讓人來飾演怪物，而這也影響了他們製作怪物的方法。

We would literally take the drawing, the Stephen Gammell drawing, and in Photoshop, like, lay it over to make sure that all the lines are right where they should be and that sort of thing.

我們會直接把 Stephen Gammel 畫的插圖直接以修圖程式疊至作品，來確保所有線條都有在它們該在的位置。

But these characters are gonna be in 3D.

但這些角色是要以 3D 呈現的。

In the case of the Scarecrow design, Norman created a digital art version in this program, ZBrush, to start designing the angles not captured in the illustration.

設計稻草人時，Norman 設計了一個 Zbrush 程式的數位美術版本來設計那些在原插圖裡沒描繪到的角度。

But the most important thing was to nail the front shot.

但最重要的事情是完美呈現正面。

Once they got approval from del Toro and Øvredal, they finished a more detailed sculpt, made a mold, and filled it with foam latex.

一旦他們得到 del Toro 與 Øvredal 的批准，他們就會製作一個更仔細的雕塑與模型然後填入發泡乳膠。

The pieces are designed to fit specific actors.

這些作品是為專屬的演員設計的。

In some instances, the actor's physicality directly informs the look and feel of the character they were playing.

某些情況下，演員的肢體能力會直接影響他們飾演的角色的外表與感覺。

The Toeless Corpse, for example, was played by Javier Botet, who's worked with del Toro on "Crimson Peak" and "Mama."

舉無趾屍體的飾演者 Javier Botet 來當例子，他曾經與 del Toro 在《腥紅山莊》與《母侵》中合作。

Javier Botet is an incredible creature-suit performer.

Javier Botet 是個很棒的怪物裝演員。

He has very unique physical characteristics that we were able to, starting with that as our foundation, really helped in the translation from a 2D drawing into something 3D.

他有非常獨特的肢體特性，所以我們能夠以此當成我們的基礎，來把一個 2D 的作品轉換為 3D。

Another creature actor, Troy James, who played the Jangly Man, brought a new level of physicality that required more attention because of the amount of bending and twisting the character had to do.

另一個演員 Troy James，他飾演咆哮人，帶來了新等級的肢體表演，因為他的角色需要做出大量的彎曲與扭曲動作。

We had some new ground to break, as far as having him come in maybe a little more frequently than we normally would for a creature suit because of the unique physicalities of the character and how we had to work around that.

我們得做出一些創新，像是讓他更頻繁地參與怪物裝的製作，因為我們得思考如何呈現他角色的肢體特殊性。

So, it's just a matter of having the actors available to come in repeatedly.

所以我們就是得讓演員能夠不斷地來參與。

And we'll put him in the suit and we'll take video.

我們會讓他穿上套裝然後錄下影片。

We'll see, OK, this is working, this isn't.

我們會評估「好，這可行、這不可行。」

We've got to address this.

或「我們得處理這個。」

I want to point out that these moves are not done with wires or CGI.

我想點出這些動作不是用鋼絲或電腦合成的。

He can really move like that.

他真的可以這樣移動。

When we first learned about what the Jangly Man had to do, we started scratching our heads and asking each other, "Who's gonna play this character?"

當我們剛開始知道咆哮人的特性時，我們開始搔頭問彼此：「誰有辦法來演這個角色？」

And then we became aware of an actor named Troy James, who had done a spot on "America's Got Talent,"

然後我們得知一名演員叫 Troy James，他曾經在《美國達人秀》表演過。

And we took a look at his work and we thought...

我們看了一下他的作品，然後就想......

"He's the guy. This guy can do anything."

「就是他了，他什麼都做得到！」

Once in costume, the next stage was painting.

著裝後，下一步就是塗色。

Both the suits and the performer's skin were painted with acrylics.

服裝本身與演員的皮膚都會以壓克力顏料上色。

This stage had its own set of challenges.

這個階段有它自己的挑戰性。

For the Pale Lady, del Toro and Øvredal wanted it to appear as if the creature's dress had merged with her skin.

以蒼白女來說，del Toro 與 Øvredal 想要表現出一個她的服裝與皮膚融合在一起的感覺。

To do so, Mike Hill had to create a smooth paint job void of any garment lines on her skin.

為了達成這目的，Mike Hill 得做出一個不讓任何服裝痕跡從皮膚顯露出來的精緻作品。

It was really cool.

這真的很酷。

I know Guillermo was particularly happy with this one, because it was such a large and, not abstract, but, you know, it's one of those things that could be widely interpreted, like, what you're looking at.

我知道 Guillermo 特別滿意這個作品，因為它是如此重要且具體，也是個可以被許多人欣賞的作品，就是你眼前這個作品。

Stephen's drawings, they have a sketchy vibe to them, so not every line is realized, so to speak, you know, in the real world.

Stephen 的插圖有種概略的感覺，所以不是現實世界裡該有的每個線條都有被畫出來。

The Pale Lady costume had to be put on almost like a giant snowsuit.

蒼白女的服裝穿起來就像個巨大雪人裝。

Once in, to create the seamless look, they glued up the seams and painted over them.

穿好後，為了營造一種圓滑的外表，他們把服裝接縫黏好並以顏料蓋過。

Now, keep in mind, these are black-and-white drawings.

記住，這些插圖都是黑白的。

For a character like the Toeless Corpse, they chose a color palette to give her a "nicotine-stained" feel, using rotted browns and earth-toned colors.

以無趾屍體的角色來說，他們選擇給她一個「尼古丁汙痕」的色調，使用鏽褐色與大地色調的顏色來製作。

They also had to tackle the challenge of giving this character's face a skeletal look.

還有一個挑戰是給這個角色的臉部一種骷髏感。

To do so, they added pronounced teeth outside the actor's mouth, a technique used for zombies on "The Walking Dead."

為了達成這個目的，他們在演員嘴巴外部加上假牙，一種在《陰屍路》裡製作殭屍時所使用的技術。

They painted a majority of the actor's body and covered him with almost 30 individual applications to create the finished look.

他們在演員大部分的身體上著色並加上約 30 樣的配件來完成最後的樣貌。

But the one thing crucial to the design required a missing toe.

但這個角色一個重要的設定是遺失的腳趾。

So Spectral designed a foot that would be finished later in post-production.

所以 Spectral 公司決定一隻腳用後製的方式完成。

The hair for those two were custom-made wigs by Lynne Watson.

這兩個怪物的頭髮都是由 Lynne Watson 製作的客製化假髮。

She's done costume hair work for "Planet of the Apes," "Lone Ranger," and my personal favorite, "Team America: World Police."

她幫許多電影製作過假髮，像是《腥球崛起》、《獨行俠》，還有我個人最愛的《美國賤隊：世界警察》。

Each wig took over three weeks to make and are both made with human hair.

每頂假髮大概都要花三週製作，且都是用真髮做的。

When designing the Scarecrow, Cabrera and the team asked: What would farmers in the world of this movie make a scarecrow out of, and how well would they have built it?

當在設計稻草人時，Cabrera 與他的團隊思考：「電影裡那個世界的農夫會用什麼東西來做稻草人？而他們又會怎麼做？」

They decided to give the Scarecrow a look as though it had a 2-by-4 skeletal frame and was completely beaten up by the elements.

他們決定給稻草人一個面貌，讓它看起來像有一個尺寸 2 x 4 ，破爛的骨架。

For the Jangly Man, the character made up of different limbs and body parts, each segment of the creature would therefore have different levels of rot.

至於咆哮人，這個角色是由不同生物的軀幹與身體部位組成的，每個區段也因此會有不同程度的腐敗。

So, although several designers all worked on this one suit, they would each work on various limbs separately, focusing on a unique level of rot.

所以，即使有好幾位設計師同時製作這件服裝，他們都負責不同的肢體部位，專注於各自獨特的腐敗程度。

Del Toro would visit and guide the artists on how rotted certain parts would be and how they should look.

Del Toro 會拜訪並指導這些藝術家，談論他每個部位想要的腐敗程度與成品應該要展現的效果。

Once they were in the suit, painted up, detailed, and ready to shoot, the final step was getting the movement of the characters right.

一旦演員著好裝、塗色完成、準備好拍攝後，最後一步就是讓角色做出正確的動作。

Along with the direction of Øvredal and del Toro, production hired motion coaches to develop the performance.

除了 Øvredal 與 del Toro 的指導，製作團隊也雇用了動作指導來設計動作內容。

The actor, director, and even the creature designer would all work together to give the monster that perfectly terrifying presence on camera.

演員、導演，甚至是怪物設計師都會一同合作來讓怪物能在鏡頭前呈現最恐怖的一面。

It is like a "Dr. Frankenstein" kind of thing, you know?

這就像是《科學怪人》一樣。

Like, you're making a monster.

你在製造一個怪物。

This thing has to live, you know.

這東西必須得活起來。

And even though it's not living in real life, it's living in a movie, you know.

即使不是在現實生活中活著，至少也是在電影裡。

So, you're taking this from nothing that didn't live before, and now it's alive, you know.

從零製作一個東西，讓它活過來。

And that's, like, a great feeling, you know, when you finally see it on film and it's this living, breathing thing that's convincing 'cause it's in the dramatic context of a movie.

這種美好的感覺，當你終於看到它活生生地出現在電影裡，是如此地有說服力，因為它是出現在一部劇情張力相當大的電影裡。

And you know, that's the best reward there is.

這就是最好的獎勵。