亚伦·埃哈斯

    亚伦·加布里埃尔·埃哈斯是美国电视编剧兼制片人。他的作品主要由动画系列组成,包括担任《阿凡达:最后的气宗》的首席编剧和联合执行制片人,尽管他确实是真人秀系列《鲻鱼》和《编辑》的制片人。他还是Netflix系列《龙王子》的联合创作者。

亚伦·埃哈斯(Aaron Ehasz)名言

The characters don't all have to be likable, and they don't all have to be hateable. As long as it's interesting and you connect to them and they resonate with you and you want to find out what happens and it feels authentic, then we have something.

角色不必都讨人喜欢,也不必都讨厌。 只要它很有趣,并且您与他们建立了联系,他们就会与您产生共鸣,并且您想了解发生了什么并且感觉真实,那么我们就有了一些。

亚伦·埃哈斯

It is a labor of love, but there is a lot of labor, especially when you're trying to build a big, epic world with lots of details and a kind of physics of magic that makes some sense and actually has some rules to it.

这是爱的劳动,但是劳动却很多,尤其是当您试图构建一个具有许多细节和具有某种意义并且实际上有一些规则的魔术物理学的大型史诗世界时

亚伦·埃哈斯

Our experience on 'Avatar' heavily influenced how we approached 'The Dragon Prince' and how we built our team.

我们在《阿凡达》上的经验在很大程度上影响了我们对待《龙王子》的方式以及我们建立团队的方式。

亚伦·埃哈斯

Yeah, so when 'Avatar' came out, the social media world and the idea of fan communities were very new. There were forums and you could obviously go to conventions and talk to people, but it wasn't as clear or easy.

是的,因此当“阿凡达”问世时,社交媒体世界和粉丝社区的想法非常新颖。 有论坛,您显然可以参加会议并与人们交谈,但这并不是那么清晰或容易。

亚伦·埃哈斯

Fantasy stories have almost always been very white and European-focused, and we wanted to tell a story that would feel both more modern and more global. We wanted to attract a diverse audience.

幻想故事几乎总是非常白人化并且关注欧洲,因此我们想讲一个既现代又全球化的故事。 我们想吸引各种各样的观众。

亚伦·埃哈斯

We have a wonderful head of social media and community, Danika Harrod, who has a knowledge of community that's really authentic, and she just loves connecting with people and she's very empathetic to what fans might want.

我们拥有出色的社交媒体和社区负责人Danika Harrod,她对社区的了解非常真实,她非常喜欢与人联系,并且对粉丝可能想要的东西很同情。

亚伦·埃哈斯

People can do bad things for good reasons, or for what they think are good reasons.

人们可以出于良好的理由或出于他们认为是良好的理由而做坏事。

亚伦·埃哈斯

On 'The Dragon Prince', we wanted to push that even more to leverage the strengths of a CG and 3D pipeline. We wanted details on the character designs, in the costumes and sets, that you really can't get in traditional 2D animation.

在“龙王子”上,我们想进一步推动这一点,以利用CG和3D管道的优势。 我们想要有关角色设计,服装和布景的详细信息,而这是传统2D动画真正无法做到的。

亚伦·埃哈斯