《九龍城寨之圍城》動作指導谷垣健治專訪：Part 2 ——「場景、動作、道具的三重協作」（The Triple Collaboration of Sets, Action, and Props)

第二部｜Part 2

「場景、動作、道具的三重協作」（The Triple Collaboration of Sets, Action, and Props)
Kenji認為，城寨建築櫛比鱗次，高低交錯的奇異結構，先天上已是動作片的優勢。角色們在水泥叢林裡對打、追逐，在街頭巷弄中裡拳來拳往，蹬上跳落，那些狹窄的空間感，顯得特別壓迫，也特別好看。他說：「其實不單只城寨，香港很多建築，例如公屋邨，以及橫街窄巷都是很特別的！可能你們不覺得。但在我眼裡，全部很有發揮空間。」
美術組搭景，動作組拆景：「美術是兩個部分，一是搭景，一是道具陳設。我們先是著美術的場景來設計動作，道具組又根據我們的動作來布置和陳設。」這一節，Kenji San以實際的城寨拍攝例子解釋，動作組與美術組是如何在片場緊密合作。

Kenji believes that the densely packed and staggered structures of the walled city inherently provide an advantage for action films. The characters engage in fights and chases within the concrete jungle, exchanging punches in narrow streets and alleys, with jumps and falls that create a particularly oppressive and visually striking sense of space. He says, “Actually, it’s not just the walled city; many buildings in Hong Kong, such as public housing estates and narrow streets, are very unique! You might not realize it, but to me, they all offer a lot of potential for creativity.”

The art department sets the scene, while the action team breaks it down: “The art consists of two parts: one is the set design, and the other is the arrangement of props. We first design the action based on the art of the scene, and then the prop team arranges and sets things up according to our actions.”

In this section, Kenji San explains with practical examples from the “Walled in” shoot how the action team and the art department work closely together on set.

＊足本文字訪問，見於年底再版推出的《電影實景集》（國際版）。
The full text interview can be found in the upcoming re-release of “The Art of Cinematic Set Constructions“ (International Edition).

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