第一篇：影視美聯(lián)英語 白金漢宮翻修將耗資1.5億英鎊,英女王要搬家嘍大全

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美聯(lián)英語提供：影視英語 白金漢宮翻修將耗資1.5億英鎊,英女王要搬家嘍

It has been her London home for nearly 90 years, but the Queen may have to move out of Buckingham Palace for a year under plans to carry out ￡150million-worth of urgent repairs.女王在倫敦的白金漢宮已經(jīng)住了近90年，但為了配合為期一年、耗資1.5億英鎊的緊急翻新工程，女王可能將被迫搬家。

If she leaves, it will be the first time a monarch has been forced out since Queen Victoria designated it as an official residence in 1837.如果女王遷出白金漢宮，她將成為從1837年維多利亞女王指定這為官方住所后，第一位被迫搬出的君主。

Surveyors called in to assess the royal residence say it needs a major top-to-toe overhaul after years of neglect.被召集來的測(cè)量員進(jìn)行評(píng)估后認(rèn)為，這所王室住宅年久失修，需要全面翻修。They have suggested that the cheapest option would be to move out the sovereign and all her 426 staff in one go to so all the work can be done at once.他們建言，最經(jīng)濟(jì)的方式就是讓女王及其426位職員一次性全部遷出王宮，那么他們就能一次性完工。

Royal sources on June 22 confirmed that moving the Queen and Prince Philip out of the palace is one choice being considered.They would live at Windsor Castle, their weekend home, although it is unclear how long this would be for.英國(guó)王室6月22日證實(shí)，他們正在考慮讓女王和菲利普王子遷出王宮。他們會(huì)移居到周末度假屋溫莎堡。但尚未確定他們會(huì)在那兒住多久。

The Queen currently spends around three days a week working at Buckingham Palace, spending an increasing amount of time at Windsor Castle where she conducts royal engagements with greater frequency.目前，女王每周會(huì)在白金漢宮工作三天，在溫莎堡逗留的時(shí)間越來越長(zhǎng)，在那里舉行王室活動(dòng)的次數(shù)也越來越多。

Although parts of the palace suffered damage during the Second World War, even the Blitz did not force the Royal Family to move out.盡管在二戰(zhàn)期間白金漢宮遭到部分毀壞，即便發(fā)生閃電戰(zhàn)，王室成員也未遷出。Details of the plan emerged on June 22 following the publication of the Queen's annual report into her work as head of state and accounts.搬遷計(jì)劃的細(xì)節(jié)于6月22日公布。此前，女王公開了年度工作報(bào)告和財(cái)產(chǎn)報(bào)告。Last year she received ￡37.9million from taxpayers through the Sovereign Grant but because of a jump in profits from the Crown Estate from which it is taken, she will see her income rise by 6.7 per cent in 2016/17 to almost ￡43million.去年，通過主權(quán)撥款，女王從納稅人手中得到了3790萬英鎊?；始邑?cái)產(chǎn)局的部分利益

作為主權(quán)撥款補(bǔ)貼給皇室，由于其利潤(rùn)上漲，2016年至2017年，女王的收入將增加6.7%，總計(jì)約4300萬英鎊。

Aides maintain that the monarchy still offers 'excellent' value for money, costing the country 56p per person each year.女王助理始終認(rèn)為，盡管國(guó)民每人每年為王室花費(fèi)56英鎊，王室的存在仍然“物超所值”。

They have long complained, however, that government underfunding over more than 20 years has forced them to 'make do and mend', leading to a huge backlog of urgent repairs at royal residences, particularly Buckingham Palace.盡管如此，他們一直抱怨，20多年來，政府對(duì)王室的撥款不足，他們迫不得已“小修小補(bǔ)將就一下”，導(dǎo)致多所王室居所的急修工作一直積壓著，尤其是白金漢宮。

Members of staff have been known to catch rain in buckets to stop priceless works of art and antiques from being destroyed by its leaky roofs.據(jù)說，白金漢宮屋頂漏雨，王室職員要在雨天放桶接水，以防貴重藝術(shù)品和古董被損壞。

Most of the state rooms have not been decorated since the Queen came to the throne 60 years ago, while large parts of the building are in such a state of disrepair that Princess Anne was almost hit by falling masonry a few years ago.伊麗莎白女王掌權(quán)60年來，大部分的房間都未經(jīng)裝修。而宮殿大部分地方都失修已久，前幾年安妮公主還差點(diǎn)被掉下來的磚瓦砸傷。

And the palace's ancient electrics and plumbing systems both need a top-to-toe overhaul.宮殿里古老的電力系統(tǒng)和水管也需要全面整修。

Officials are now seriously exploring the possibility that the Queen and her staff will be forced to move out, either all at once, or in stages with the work being done around them.官員們現(xiàn)在非常認(rèn)真地考慮女王及其職員將被迫遷出的事情，有可能一次性全部遷出，有可能在翻修工程進(jìn)行時(shí)還繼續(xù)住在這里。

As well as having to hold garden parties in a different location, any major closure of the palace could force its closure to the public for at least one summer season, meaning a huge loss of income for the Royal Collection.同時(shí)還要換個(gè)地點(diǎn)舉辦露天招待會(huì)，一旦遇到重大施工封鎖，宮殿將至少一個(gè)夏季不對(duì)公眾開放，這意味著英國(guó)皇家典藏會(huì)損失一大筆收入。

Independent assessors say that 40 per cent of the royal estate – which includes Windsor Castle, St James's Palace and other residences – is in a sub-standard condition.獨(dú)立評(píng)估者稱，40%的王室居所——包括溫莎堡，圣詹姆斯宮等其他居所——都有待修整。

第二篇：影視美聯(lián)英語 宮崎駿 真的要退休了嗎

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美聯(lián)英語提供：影視英語 宮崎駿 真的要退休了嗎? The nominations won’t be announced until Jan.15, but it’s safe to say that the greatest filmmaker associated with the 2015 Academy Awards has already received his Oscar, delivered a modest but revealing acceptance speech and flown home to Japan and, perhaps, retirement.2015年的奧斯卡獎(jiǎng)提名要到1月15日才宣布，但是毫無疑問，最優(yōu)秀的電影人今年已經(jīng)得到了他的奧斯卡獎(jiǎng)杯，他發(fā)表了謙遜而又真情流露的獲獎(jiǎng)致辭后便乘飛機(jī)回到日本家中，或許從此就會(huì)退休。

Hayao Miyazaki was given an honorary Oscar on Nov.8 at the Governors Awards ceremony, one that he can put on the shelf next to the statuette he won in 2003 when his masterpiece, “Spirited Away,” was named best animated feature.He got off a sly one-liner about his wife and paid an impish tribute to the Hollywood veteran Maureen O’Hara, a fellow Governors Award honoree along with Harry Belafonte and the French screenwriter Jean-Claude Carrière.11月8日，宮崎駿在奧斯卡主席獎(jiǎng)的典禮上獲得終身成就獎(jiǎng)，這是他第二次獲得奧斯卡獎(jiǎng)杯，第一次是在2003年，他的杰作《千與千尋的神隱》獲得了最佳動(dòng)畫長(zhǎng)片獎(jiǎng)。他說了一句關(guān)于妻子的玩笑話，并且頑皮地向好萊塢資深演員瑪琳·奧哈拉(Maureen O’Hara)致意，她和哈里·貝拉方特(Harry Belafonte)及法國(guó)編劇讓-克勞德·卡瑞爾亦獲得了主席獎(jiǎng)

榮譽(yù)。

Between those two humorous notes, he was serious — honest, elegiac, rueful — on the subjects of animation and his country’s history, which gave his brief remarks something in common with his films.“I think I’ve been lucky because I’ve been able to participate in the last era when we can make films with paper, pencils and film,” he said through a translator.“Another fact of luck is that my country has not been at war for the 50 years that I have been making films.Of course, we’ve profited from wars, but we’re very fortunate that we have not had to go to war ourselves.”

在這兩句幽默的話語之間，宮崎駿非常嚴(yán)肅，他誠(chéng)懇、傷感而悲哀地談起動(dòng)畫片與日本的歷史，這些話題令他簡(jiǎn)短的致辭有了和他的影片同樣的氣質(zhì)。“我覺得自己非常幸運(yùn)，因?yàn)槲铱梢詤⑴c到使用紙張、鉛筆和膠片制作電影的最后時(shí)代?！彼柚g說道?！傲硪粋€(gè)幸運(yùn)之處是，我的祖國(guó)在我拍電影的這50年時(shí)間里，沒有戰(zhàn)爭(zhēng)。當(dāng)然，我們從戰(zhàn)爭(zhēng)中獲益，但我們非常幸運(yùn)，可以不必親自參與戰(zhàn)爭(zhēng)?！?/p>

Many things contribute to the enchantment of the 11 animated feature films Mr.Miyazaki has made, beginning with “The Castle of Cagliostro” in 1979.Their sheer pictorial beauty, in the lush, painterly style he developed during years of apprenticeship as a hands-on animator for film and television and as a comic book, or manga, artist.Their swooping, beautifully constructed action sequences, breathless scenes of racing, leaping and, always, flight — in vintage airplanes, on broomsticks or mounted atop mysterious beasts.And, of course, the beasts, spirits，demons and familiars themselves, a seemingly inexhaustible menagerie of companions and impediments for his plucky young heroes(who are most often heroines).宮崎駿共制作了11部動(dòng)畫長(zhǎng)片，最早一部是1979年的《魯邦三世：卡里奧斯特羅城》，這些動(dòng)畫的魅力是由很多因素共同造成的。它們有著純粹的繪畫之美，宮崎駿曾經(jīng)當(dāng)過電視和電影動(dòng)畫繪制的學(xué)徒，還做過漫畫家，他從那時(shí)便開始發(fā)展出自己豐富的、油畫般的風(fēng)格。他的影片中，一系列動(dòng)作有著全面而美麗的結(jié)構(gòu)；賽跑和跳躍的情景令人透不過氣，更有乘著老式飛機(jī)、女巫掃帚與神秘野獸的打斗場(chǎng)面。當(dāng)然，那些野獸、神靈、怪物和常見的形象，如同一個(gè)無窮盡的小動(dòng)物園，為他筆下年輕勇敢的英雄們（大部分是女英雄們）充當(dāng)伙伴和敵人。

None of these things are unique to Mr.Miyazaki, though he conjures them with an unmatched variety and generosity.What makes his films so memorable — from the great ones, like “Spirited Away,” which is a coming-of-age tale, and the ecological fables “Princess Mononoke” and “Nausicaa of the Valley of the Wind,” to less profound but still captivating works like “Kiki’s Delivery Service” and the mesmerizing “My Neighbor Totoro” — is something that’s harder to label.You know it when you feel it: the mastery of tone and emotion, embodied in every gesture, expression, movement and setting, that give the films a watchfulness, a thoughtfulness, an unaffected gravity.To watch a Miyazaki movie is to remember what it was like to be a smart and curious child.這些東西并不是宮崎駿所獨(dú)有的，但他以前所未有的多樣化與豐富性使用了這些元素。

他有非常宏大的作品：《千與千尋》是關(guān)于成長(zhǎng)的故事、《幽靈公主》和《風(fēng)之谷的娜烏西卡》則是生態(tài)寓言；還有一些作品雖然沒這么深刻，但同樣引人入勝，比如《魔女宅急便》和迷人的《龍貓》，這些作品全都如此令人難忘，個(gè)中原因很難說清。只要你體會(huì)到了就能明白：對(duì)基調(diào)和情感的把握體現(xiàn)在每個(gè)手勢(shì)、表情、動(dòng)作和場(chǎng)景里，令他的動(dòng)畫充滿觀賞性和思想性，以及毫不做作的莊重。觀看宮崎駿的電影會(huì)讓你感覺自己重新成了聰明好奇的孩子。

Even at its high end, in the works of the Pixar studio or the director Henry Selick, the American children’s movie(a category that these days is pretty much congruent with the animated feature film)approaches its young viewers in a different and less rewarding way.There is always a sense of the filmmakers looking across a divide at their audience, trying with various degrees of grace or desperation to create an entertainment for them, to figure out what will keep those allegedly hyperdistracted children from losing interest.反觀皮克斯生產(chǎn)的電影或亨利·塞利克(Henry Selick)導(dǎo)演的作品，即便是在最好的情況之下，美國(guó)兒童電影（這個(gè)類別目前已經(jīng)基本上等同于動(dòng)畫片）也是以一種完全不同、效果也不那么好的方式去接近年輕的觀眾。電影工作者們?cè)趯徱曈^眾時(shí)，總是帶著區(qū)別對(duì)待的觀念，刻意以不同程度的趣味或努力程度，努力去娛樂他們，努力想讓那些據(jù)說特別容易分心的小觀眾們對(duì)影片保持興趣。

Mr.Miyazaki cares deeply about that young audience, but you get the feeling that he doesn’t waste any time trying to guess what it wants.Like other great directors of films for and about children — Carroll Ballard(“The Black Stallion”)Steven Spielberg(“E.T.”), Alfonso Cuarón(“A Little Princess” and “Harry Potter

and the Prisoner of Azkaban”)— he inhabits the child’s point of view and directly communicates her joys, her trepidations and, perhaps most important, her endless curiosity.宮崎駿也非常重視年輕的觀眾，但你可以感覺到，他并不浪費(fèi)時(shí)間去猜測(cè)他們想要什么。有許多導(dǎo)演為孩子們拍出了偉大影片，或拍出了關(guān)于孩子們的偉大影片，比如拍了《黑神駒》(The Black Stallion)的卡羅爾·巴拉德(Carroll BAllard)、拍了《ET》的史蒂文·斯皮爾伯格(Steven Spielberg)，以及拍了《小公主》(A Little Princess)和《哈利·波特與阿茲卡班的囚徒》(Harry Potter and the Prisoner of Azkaban)的阿方索·卡隆(Alfonso Cuarón)。宮崎駿和他們一樣，能以孩子的視角看待世界，能直接了解到這個(gè)孩子的喜悅與不安，或許最重要的是，能夠了解到她無窮無盡的好奇。

With his ability to pass so easily through the membrane between youth and adulthood, Mr.Miyazaki is also able to invest his fairy-tale scenarios with thematic weight.In his public life, he has spoken out on issues including pollution, the dangers of nuclear power, and Japan’s recent swing toward nationalism and militarism.His films, correspondingly, have sent messages — sometimes allegorical, but never unclear — in favor of environmentalism(“Nausicaa,” “Princess Mononoke,” “Ponyo”)and against war(“Howl’s Moving Castle,” “The Wind Rises”).他能輕易穿透橫亙?cè)谀贻p人與成人之間的隔膜，因此便可以為筆下童話般的情節(jié)賦予沉重的主題。在公眾生活中，他曾為環(huán)境污染、核戰(zhàn)爭(zhēng)的危險(xiǎn)，乃至日本近期的民族主義與軍事主義傾向而大聲疾呼。他的影片亦傳遞出同樣的信息，有時(shí)可能是寓言性的，但一直都是清晰的——諸如支持環(huán)保主義的《風(fēng)之谷》、《幽靈公主》和《懸崖上的金魚姬》，以

及反戰(zhàn)的《哈爾的移動(dòng)城堡》和《起風(fēng)了》。

The messages are never what the films are about, though.Mr.Miyazaki does not promote outcomes;he explores possibilities.As he says in “The Kingdom of Dreams and Madness,” Mami Sunada’s indispensable 2013 documentary: “You don’t depict fate;you depict will.Even if fate exists.” Like all of us, his characters are born with infinite possibilities and shape their own lives as they close off those options one by one.“To choose one thing is to give up another,” he says.不過，這些信息從來不是他的影片的核心。宮崎駿從不宣傳成果，只是探索可能性。2013年，在砂田麻美重要的紀(jì)錄片《夢(mèng)與狂想的王國(guó)》中，宮崎駿說：“你無法描繪命運(yùn)，你只能描繪意志，就算真的有命運(yùn)存在。”和我們大家一樣，他筆下的角色也是從一出生就擁有無窮無盡的可能性，之后他們摒棄了一個(gè)又一個(gè)的選擇，塑造自己人生的形狀，“選擇一樣?xùn)|西就意味著放棄另一樣?xùn)|西，”他說。

For her documentary, Ms.Sunada embedded herself with Mr.Miyazaki and Studio Ghibli, the animation studio he founded with his colleague and mentor Isao Takahata and the producer Toshio Suzuki.The film provides an intimate view of a man whose disarming, sardonic humor and modest manner don’t hide the tremendous demands he places on his young staff of animators and technicians or the way he feeds on their energy.砂田麻美在這部紀(jì)錄片中深入探索了宮崎駿的人生，以及他與同事兼導(dǎo)師高畑勛和制作人鈴木敏夫聯(lián)合創(chuàng)建的吉卜力工作室。影片以親切的視角拍出了他那令人放下戒備，同時(shí)又充滿諷刺的幽默感；他雖然態(tài)度溫和，卻對(duì)年輕的動(dòng)畫師和技術(shù)員工們有著極高的要求，同時(shí)吸取著他們的能量。

Of course he places even greater demands on himself, and anyone tempted to sentimentalize him as a head-in-the-clouds fabulist will be set straight by Ms.Sunada’s depiction of his working method, disciplined to the point of regimentation, machine-like in the service of the magical.While workers one-third his age chat or stare into space, Mr.Miyazaki(who will turn 74 on Monday)strides past in his printer’s apron, headed to the next task.當(dāng)然，他對(duì)自己的要求更高。如果有人帶著傷感之情，想把他描述為一個(gè)想入非非的寓言家形象，看了這部紀(jì)錄片肯定會(huì)打消這種看法。砂田麻美在片中記述了他的工作方式，強(qiáng)調(diào)紀(jì)律到了嚴(yán)格控制的地步，像機(jī)器一樣為動(dòng)畫中的魔法王國(guó)服務(wù)。當(dāng)年紀(jì)是他1/3的員工們閑聊或發(fā)呆的時(shí)候，宮崎駿（周一他就74歲了）穿著畫師的圍裙，大步走過去，開始做下一項(xiàng)工作。

Mr.Miyazaki has announced that “The Wind Rises,” released in 2013 in Japan, will be his last feature film, and in his Oscar speech and in “The Kingdom of Dreams and Madness” there are indications that he’s had enough.The darkness that is often present in his films but never overwhelms them, emerges when he talks to Ms.Sunada about “cursed dreams” and he tells her: “How do we know movies are even worthwhile? If you really think about it, is this not just some grand hobby? Maybe there was a time when you could make films that mattered, but now? Most of our world is rubbish.It’s difficult.”

2013年，《起風(fēng)了》在日本上映時(shí)，宮崎駿宣布這將是自己的最后一部動(dòng)畫長(zhǎng)片，在他的奧斯卡獎(jiǎng)獲獎(jiǎng)致辭和《夢(mèng)與狂想的王國(guó)》中，有跡象表明他已經(jīng)心滿意足。他的影片中經(jīng)常出現(xiàn)黑暗，但黑暗從未壓倒一切，然而在他與砂田麻美談起“被詛咒的夢(mèng)想”時(shí)，這種

黑暗再度浮現(xiàn)出來，“我們?cè)趺粗肋@些電影是有價(jià)值的？如果你真的好好去思考，它也許只是一個(gè)宏大的嗜好呢？也許過去曾經(jīng)有那么一個(gè)時(shí)刻，你可以拍出真正的好電影，但是現(xiàn)在呢？我們的的世界充斥著垃圾。太困難了?！?/p>

Difficult, requiring punishing discipline and ruthless focus, but as he has continually shown, not impossible.When Ms.Sunada filmed the 2013 news conference at which Mr.Miyazaki announced his retirement, he confided to her that he hoped to work for another 10 years.Whether that means short films, comic books or a return to features, whatever he makes is sure to matter.誠(chéng)然，拍出好電影很困難，需要嚴(yán)格的紀(jì)律與艱苦的專注，但正如他長(zhǎng)久以來向世人所證明的，這并非不可能做到的事情。2013年，當(dāng)砂田麻美拍攝宮崎駿宣布退休的新聞發(fā)布會(huì)時(shí)，他向她保證，自己希望繼續(xù)工作10年。不管是拍短片也好，創(chuàng)作漫畫書也好，抑或回歸動(dòng)畫長(zhǎng)片也好，他所創(chuàng)作的東西肯定是舉足輕重的。

第三篇：影視美聯(lián)英語 《三生三世十里桃花》將搬上大熒幕

小編給你一個(gè)美聯(lián)英語官方免費(fèi)試聽課申請(qǐng)鏈接： http://m.meten.com/test/waijiao.aspx?tid=16-73675-0

美聯(lián)英語提供：影視英語 《三生三世十里桃花》將搬上大熒幕 Online fantasy to hit the big screen with fan support

《三生三世十里桃花》搬上大熒幕

Alibaba Pictures is the latest online platform to make a bid for the big screen, announcing it plans to turn a popular Internet novel into a movie with the help of fans.最新網(wǎng)絡(luò)平臺(tái)阿里影業(yè)出價(jià)購(gòu)買電影版權(quán)，宣布計(jì)劃在粉絲的支持下將一部暢銷網(wǎng)絡(luò)小說搬上大熒幕。

《三生三世十里桃花》將搬上大熒幕

A team from the French National Institute for Preventive Archaeological Research discovered the body when they pried open her lead coffin during a rescue excavation on the construction site of a new conference center in Rennes in northwestern France.電影《三生三世十里桃花》，取自2008年網(wǎng)上大熱同名小說，將于9月份開拍。Set in a fictional world in which monsters, gods and humans coexist, the story weaves a complicated timeline into a bittersweet romance between a

140,000-year-old fox princess and a 50,000-year-old dragon prince.故事背景是一個(gè)妖、神與人共存的玄幻世界，故事由復(fù)雜的時(shí)間線串連，講述了14萬歲的青丘帝姬和5萬歲的九重天太子之間的愛情故事。

Written by a low-profile author who is known only by the pseudonym Tangqi Gongzi, the novel has become an Internet sensation since it was released in 2008 on Jjwxc.net, one of the country's largest literature websites.作者十分低調(diào)，筆名唐七公子，自2008年在中國(guó)最大文學(xué)網(wǎng)站之一的晉江文學(xué)網(wǎng)站上刊載，這部小說引起網(wǎng)絡(luò)巨大轟動(dòng)。

The novel was published by Shenyang Press in 2009 and has sold 1.1 million copies.2009年小說由沈陽(yáng)出版社發(fā)行，銷量達(dá)110萬。

With a solid base of fans, up to 190 million pieces of news, reviews and other content related to the novel can be found through the search engine Baidu.com.在堅(jiān)實(shí)的粉絲群擁護(hù)下，通過百度搜索引擎可以找到1.9億條與小說相關(guān)的新聞、評(píng)論及其他內(nèi)容。

Industry watchers say its online popularity and potential for market earnings could propel the film to be the next blockbuster.行業(yè)觀察者表示，這部小說的在線人氣和市場(chǎng)收益潛力會(huì)有助于這部電影成為下一個(gè)大片

The boom began when So Young, the directorial debut of A-list actress Zhao Wei, now a major shareholder of Alibaba Pictures, took a record box office of 718 million yuan($116 million)in 2013.這一熱潮始于一線演員趙薇導(dǎo)演處女作《致青春》的上映，2013年，《致青春》票房高達(dá)7.18億人民幣（1.16億美元），現(xiàn)在趙薇是阿里影業(yè)股東之一。

Zhang Qiang, CEO of Alibaba Pictures, reveals that the original script has been evaluated by some die-hard fans, and the novel's readers will also have the right to select the cast through online votes.阿里影業(yè)CEO張強(qiáng)透露，原始劇本已經(jīng)由一些忠實(shí)粉絲審閱過了，小說讀者也有權(quán)通過線上投票選演員。

A campaign to recruit some actors has been launched in a number of colleges in the country.招募演員活動(dòng)已在一些大學(xué)啟動(dòng)。

Zhang Yibai, the movie's producer and a veteran director of romance-themed blockbusters, has defined himself as a “project manager” rather than a filmmaker.張一白是這部電影制作人，他是一位經(jīng)驗(yàn)豐富的愛情大片導(dǎo)演，稱自己是“項(xiàng)目經(jīng)理”而不是電影制作人。

Though hardly masking their commercial ambition, the filmmakers promise the movie won't be a coarse production to be made only for the money.盡管努力隱藏自己的商業(yè)目的，電影制作商承諾這部電影不會(huì)只金錢而粗劣制造?！癢e'll create the best visual effects and have a big budget to hire the top talents,” said Zhang Qiang at a Beijing media event on May 26.“我們將創(chuàng)作最佳視覺效果，我們將花大預(yù)算請(qǐng)頂尖專業(yè)人員參與制作?！睆垙?qiáng)在5月26日北京電影活動(dòng)中說道。

Anthony LaMolinara, Oscar-winner for best visual effects for Spider Man 2, will

lead a Hollywood team to design the fictional wonderland of a spectacle from heaven to the ocean.曾憑《蜘蛛俠2》獲得奧斯卡最佳視覺效果的安東尼·莫林納拉將帶領(lǐng)好萊塢團(tuán)隊(duì)設(shè)計(jì)海天玄幻仙境