内容摘要：, known as Alliance for System Safety of UAS through Research Excellence.

, known as Alliance for System Safety of UAS through Research Excellence.

Jenkins: At least 400 times. But it came down to the spirit and the warmth of Jeff Nathanson’s script and also the spirit and the warmth I always found in the story. I came to “The Lion King” by babysitting my nephews way, way back in the 1990s. My sister was a single mom and I’d be at home watching with the kids. You’d put on different VHSs and “The Lion King” was always the one that stuck. I just thought: Wouldn’t it be interesting to, coming out of something like “The Underground Railroad” to step into this thing that’s so full of light?JENKINS: Maybe warmer, lighter but still just as deep, just as spiritual. This idea of family legacy, of finding your place in the world, those are things that are very present in “Moonlight” and “The Underground Railroad.” If I was telling you, “I’m going to make this film about this kid who has this almost biblical experience involving water and a parent figure that he then gets displaced from, and has to find his place in the world, I could be talking about “Moonlight” or I could be talking about “Mufasa.”

Kelvin Harrison Jr., Tiffany Boone, Aaron Pierre, Anika Noni Rose, Billy Eichner, Seth Rogan and Barry Jenkins at a London “Mufasa” photo call. (Ian West/PA via AP)Kelvin Harrison Jr., Tiffany Boone, Aaron Pierre, Anika Noni Rose, Billy Eichner, Seth Rogan and Barry Jenkins at a London “Mufasa” photo call. (Ian West/PA via AP)JENKINS: It wasn’t about the notions of who people thought I was. But I was looking to expand just the kind of filmmaking I was doing at that point. This came right in the thick of pretty much a seven-year cycle, from beginning “Moonlight” to being in post on “The Underground Railroad,” the way this movie is made, with this virtual production, it’s just a very new way of making films. There’s maybe been five or six movies made with this technology.

JENKINS: I did. We evolved this process to the point where we could create so much of all the world and the movement in virtual space, and we could then take our virtual cameras into virtual production. We evolved the animation to the point where we could create the light, we could create the set, we could create the environment. (Cinematographer) James (Laxton) would be there and I would be there, and we’re blasting the voices of the actors into the room and the animators are moving through and I’m directing the blocking, and the camera is responding to the blocking in real time.JENKINS: Absolutely. Look, I’m a filmmaker who was on set with “Moonlight,” I’ve got 25 days and the sun is going down. Yeah, you’re trying to find a place for the camera, you have ideas, but those ideas aren’t practically achievable. In this sense, the camera could be anywhere. It could be everywhere. It’s sort of the same questions but the possibility of answering is so immediate and direct.

JENKINS: I want to unpack what you just said. We’ve been talking, and I’ve been talking about using these tools to create a very physical, in-person experience. I don’t consider this a project that’s all digital and all computer animated. If I made this movie again right now, it wouldn’t take me four years. It’d probably take me two and a quarter. If I was going to do another one of these films, I would have such a stronger foundation. It wouldn’t feel like something that’s alien or something that’s other or that’s all digital. It would just feel like filmmaking.

JENKINS: One thousand percent. I love through this process I’ve learned so many other ways of making a film that I just could not learn making something like “The Underground Railroad.” What I love now is the overlap between the two of them. When I began this process, I talked to Matt Reeves because I had heard he had used some of these tools to pre-vis “The Batman.” He said, “Do you know that shot where the Penguin is in his car and Batman is walking upside down? I discovered that in the volume.” I said, “Of course you did.” I was like, Oh my God, we could have pre-vised “Moonlight” with this technology.Madonna, whose family hails from Italy’s Abruzzo region, has been in Italy for several days, reportedly as a guest of designers Domenico Dolce and Stefano Gabbana.

On Tuesday evening, she was filmed taking an evening walk in the Ligurian resort of Portofino wearing black lace and carrying an umbrella. She later dined with her two daughters and entourage at Portofino’s famous Puny Restaurant on the main piazza.Madonna ended her respective “Celebration Tour” in May with a free concert on Copacabana beach in Rio de Janeiro.

An email to Madonna’s publicist was not immediately returned.MADRID (AP) — It’s the eyes peering from the canvases that get him, their gaze piercing the boundary between art and life.