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The film is anchored by those three performances.
Would you say you're an actor's director, or do you
pull a Hitchcock, step behind the camera, and let them
work on their own?
这部影片是被这三位女主角的表演所定格。你会说你是
演员的导演，或者你还是模仿希区柯克，退居摄影机
后，让她们独立工作？
I spent many years in acting classes before I became a director.
That's actually where I met my wife, in acting class, but I was
studying actors to learn how to talk to them and learn the process and
understand what they went through. I wanted to understand what it
takes to build a role and build a character, so I would consider myself
an actor's director because I only care about the acting. I think the
visual always has to be secondary to the acting. If you put great actors
with a great script in a white room, it will be compelling. People will
watch it. What they won't watch is bad acting in the most amazing
setting—that's not compelling. That's why I lean into the acting more
than anything, and that's where I'm going to stay for the rest of my life,
because that's really all that matters.
在我成为导演前，在表演课程上我花了多年时间。实际上
我就是在表演课期间遇到我的妻子，但我当时在研究演员，了
解如何与他们交谈，了解流程和了解他们经历什么。我想了解
如何才能成功营造一个角色，打造一个主角，因此我会定位我
自己是一个演员的导演，因为我只关心表演。我觉得视觉始终
从属于表演。如果你将伟大的演员及很棒的剧本置于一间白色
房间，将非常引人注目。人们将注视它。
他们不想看到的是令人叹服的环境内差劲的表演——这没
有吸引力。这就是我把表演放在第一位的原因，也是我一生追
求的目标，因为这是真正最重要的。

Not to take anything away from the visual elements of
the film, specifically the production design, which was
really able to capture the era.
不对该影片视觉元素做任何删减，具体地说制作设计，
它的的确确抓住了那个时代的精髓。
We decided to work with Mandy Walker, who is brilliant and
has a wonderful eye, as our director of photography, alongside Wynn
Thomas, a star of the industry, as our production designer, and Renee
Kalfus as our wardrobe stylist. We brainstormed for a long time on
what the film would look like, and we decided that the film would
have two distinct looks. The look of NASA would be clean, bright, and
white—sterile, not warm. It would be a place that looked very modern
for its time. The home lodge of the women would be the exact opposite,
showing the tremendous warmth, love, and support of their home and
church life. Their car became their sanctuary where they could talk
and say anything they wanted to. Back in those days, from research
and interviewing Katherine Johnson, these women went three places:
Katherine Johnson they went to work, they went home, and they went to church. That was
(above and played the life of an African American woman in 1960s segregated America.
by Taraji P. Henson) We really wanted to capture those ideas: the warmth and care of the
worked for NASA for home and the coldness of the work environment. That started to build
decades. In addition to the film's visual vocabulary. Then we did hectic research through
her responsibilities on sources like Gordon Parks photographs, NASA's brilliant documentary
the Mercury missions When We Left Earth, NASA, and the civil rights documentary Eyes
as shown in the film, on the Prize. All these things added to the visual vocabulary of the
Johnson also played film. Katherine Johnson (above and played by Taraji P. Henson)
a role on the Gemini, worked for NASA for decades. In addition to her responsibilities on
Apollo, and Space the Mercury missions as shown in the film, Johnson also played a role
Shuttle programs. Dorothy Vaughan Mary Jackson (played on the Gemini, Apollo, and Space Shuttle programs. Dorothy Vaughan
(above left, and played by Octavia Spencer) was an early pioneer in
凯瑟琳·约翰逊（上图， (above left, and played by Janelle Monáe) electronic computing. Mary Jackson (played by Janelle Monáe) was
塔拉吉·P·汉森饰演） by Octavia Spencer) was an aerospace an aerospace engineer who worked at NASA for 34 years.
在NASA工作数十年。除 was an early pioneer in engineer who worked 我们决定与曼蒂·沃克合作，由他作为摄影指导，他极
了影片中水星任务负责的 electronic computing. at NASA for 34 years. 有才气并且有一双令人惊叹的眼睛。业界明星韦恩·托马斯出
工作，她还在双子星、阿 桃乐茜·沃恩（上左，奥 玛丽·杰克逊（杰奈 任美术指导，蕾妮·卡尔佛斯出任我们的服装师。我们对该影
波罗和航天飞机计划中发 克塔维亚·斯宾瑟饰演） 尔·莫娜饰演）为航天 片的视觉形象集思广益讨论了很长时间，确定该片子要有两个
挥作用。 为电子计算的先驱。 工程师，在NASA工作 不同的色调。NASA形象要洁净、明亮和白色——中性，而非
达34年。 暖色。这将是一个在其时代看上去非常现代的所在。女性的住
所则恰恰相反，非常温馨、充满爱意，以及对她们的家庭和教
会生活的支持。她们的汽车成为她们的庇护所，她们可随意说
她们想说的任何话语。在那些时候，从研究和采访凯瑟琳·约
翰逊，这些女性去三个地方：她们去上班、她们回家和她们
去教堂。这是1960年代种族隔离美国非洲裔美国女性的生活。
我们就是想拍摄这些色调：家庭的温馨和关怀以及工作环境的
冷漠。这从建立该影片的视觉词汇开始。然后我们通过如戈
登·帕克斯照片、NASA精彩的纪录片“当我们离开地球”和民
权纪录片“美国民权之路”等原始资料进行了繁忙的研究。所
有这些东西都加入 该影片的视觉词汇表。
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