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米体：博加+阿拉伊贝戈维奇将分担伊尔迪兹责任 尤文有意齐尔克泽_我的网站

越狱第四季

一 |     Costume designer Smriti Chauhan is one of the creative forces behind Ranveer Singh’s look in Dhurandhar. She says the film’s now-viral bearded avatar was born from months of iterative work, collaboration and a deep integration of costume with hair, makeup, lighting and performance. In an exclusive conversation with Filmfare, Chauhan breaks down the meticulous process, from conceptual sketches to 40-metre salwars and silicon jewellery designed to survive high-octane action.          Region, story and technical precisionChauhan reveals that the idea of a full beard was rooted in the character’s geography and cultural background. “We knew there was going to be a beard because of the region he comes from, what he’s performing and who he is,” she says. The hair and makeup team played a decisive role as well. They dictated the skin tone, lens colour and texture choices that needed to sync with her costume palette. “Costume and hair and makeup cannot be separated,” Chauhan emphasises. “The look comes alive only when all three, costume, HMU and lighting - work in harmony.”Ranveer’s inputs and a sharp eye for detailChauhan was nervous as she met Ranveer Singh for the first time while working on the movie. However, she says that the actor immediately put her at ease. But Singh was far from a passive participant. He dissected materials, cuts and accessories with precision. He’d ask, ‘Why linen? Why not silk? Why this jewellery? Why this structure?’ According to the designer, his questions pushed her to have solid answers.Smriti also shares, “And when you have the answers, it gives you more clarity. So with Ranveer, he ensured that he helps the two of us get clarity on the character. He also added some technical bits. He asked me to add a wire on the collar so that it stays like that when he is moving around.”          Ranveer’s physical transformationOne of the biggest challenges for Chauhan’s team was designing for a body that kept changing. Ranveer bulked up for a portion of the film and then shed weight rapidly for another. “We had to ensure that with every change in his body, the clothes didn’t show that change... The look had to stay consistent,” she shares.The character evolves from a street nobody to someone big. The costumes had to mirror his transformation. Initially, his look is rooted in ruggedness. “So all of this came together working very closely with him. We understood which materials are working the best and which is looking rugged. His entire journey in this film is like that of a nobody becoming somebody, like really big. So that journey itself was grand.”          The nightmare of action-friendly jewelleryLater, as the character rises in stature, accessories become key. Ironically, Chauhan had laughed off Ranveer’s early questions about accessories because of the heavy action sequences. But he persisted. “Cut to the first sequence in the teaser - he is loaded in accessories. I can tell you this, I’ll throw a rug on him and he’ll carry it with perfection. The next thing you know is that we have added so many accessories on him,” she adds.As the film is packed with lengthy action sequences, some shot over 10 to 12 days, Chauhan’s team had to create silicon jewellery that looked real but wouldn’t injure the actor or break under impact. “It was a nightmare but became necessary.”     The Balochi salwar challengeOne of the film’s most technically challenging pieces was the traditional Balochi salwar. The authentic garment uses 30 to 40 metres of fabric, which is impossible for action scenes. Instead, Chauhan’s team created prototypes using 17 to 20 metres. They experimented with fabric weight, fall, pleats and movement. “We kept making so many prototypes. When he wore it, it looked less; when we spread it out, it was huge. Overall, it was a massive learning experience,” she recalls.Months of prep, presentations and look testsThe team spent two to three months preparing Ranveer’s looks. They went through six different presentation decks and multiple iterations for each phase of his journey. Three comprehensive look tests were done even before shooting. Moreover, sudden scheduling changes accelerated everything. “We thought we’d shoot in October, but suddenly the shoot got pulled to July. We were like, ‘What?’ But luckily we had done early homework,” she recalls.The moment Ranveer called her a ‘Rockstar’Chauhan recalls one of her most overwhelming moments when Ranveer looked at the first major look test and told her he’d “never seen this level of detailing.” “Coming from someone who’s worked with the greatest designers worldwide, it meant the world. It pushed me to raise my own bar,” she says.Despite the scale, the pressure and the physicality of the film, Chauhan says Ranveer’s collaborative nature made the process smooth. “He is the best team player I could have asked for. His encouragement, his curiosity, his involvement - everything helped build the character’s world,” she quips.Also Read: Sara Arjun gives Dhurandhar co-star Ranveer Singh a moving tribute as she shares BTS photos。    8月26日讯 据《米兰体育报》报道，斯帕莱蒂不得不面对失去伊尔迪兹长达两个半月（甚至可能是三个月）的局面。这涵盖了九月、十月以及十一月至少一半的时间。对于斑马军团和球员本人来说，这无疑是一个沉重的打击；他将在未来几天接受手术，以治疗在赛季揭幕战客场对阵弗洛西诺内时遭受的那处棘手伤势。那本是一次常规动作——仅仅是脚部被踩了一下，在当时激烈的比赛氛围中，这看起来似乎并不比其他碰撞更严重。然而，周一感到的疼痛和随后的检查结果让这位身披10号球衣的球员大感震惊：左脚第五跖骨疑似骨折，这意味着手术几乎不可避免。过去几个小时的会诊消除了最后的疑虑，现在尤文图斯的工作人员和这位组织核心必须决定手术的时间和地点；目前正在权衡意大利国内外的各种方案。必须尽快做出决定，以免浪费时间，从而尽早开启康复进程——并开始倒计时等待他的回归。没有伊尔迪兹的三个月感觉就像漫长的永恒。具体到赛程上，这意味着他将缺席至少十场联赛（对手包括帕尔马、米兰、萨索洛、亚特兰大、卡利亚里、拉齐奥、莱切、热那亚、那不勒斯和佛罗伦萨）以及四场欧联杯比赛。确切的恢复时间表将取决于手术结果。在孔蒂纳萨训练基地，人们希望伊尔迪兹能在11月的国际比赛日期间回归。这是一段非常漫长的时间，尤其是考虑到上赛季末段的经历还历历在目。当时，伊尔迪兹因膝盖肌腱伤病导致状态下滑，尤文图斯也随之退出了欧冠资格的争夺。

二 | 有伊尔迪兹在阵中的尤文图斯，与没有他的尤文图斯，完全是两个档次的球队。

三 | 球场上或许无法直观呈现一切，但数据说明了一切：当这位10号球员在场时，尤文的竞技水准明显更高。首先看场均得分数据：有他在时为1.74分（缺阵时降至1.00分）。此外还有更高的进球效率（1.66球对1.33球）以及更少的失球数（1.02球对2.00球）。伊尔迪兹的缺阵留下了一个巨大的空缺，斯帕莱蒂对此心知肚明。

四 | 斯帕莱蒂在球场上寻找解决方案，而管理层则将目光投向了转会市场。虽然阵容中没有伊尔迪兹的直接替代者，但过去六个月里，斑马军团签下了两名这位土耳其球星的潜在替补：一位是稳健且经验丰富的博加，另一位则是充满活力、年仅18岁的天才阿拉伊贝戈维奇——后者是俱乐部在夏窗从勒沃库森签下的，当时他们击败了切尔西以及欧洲半数豪门的竞争。

五 | 这位波黑新星和科特迪瓦人将不得不分担出场时间、责任以及“10号位”的角色。此前几周，斯帕莱蒂一直在尝试让伊尔迪兹和阿拉伊贝戈维奇同时出场的战术，安排这名年轻球员在中路密集区域活动。然而现在，这位波黑小将可能会出现在他更熟悉的左路。尤文图斯绝对不缺边锋：斯帕莱蒂手下有孔塞桑、热格罗瓦，以及尼古拉斯·冈萨雷斯，不过这位阿根廷人渴望转会，而俱乐部也非常乐意用他去交换马德里竞技的瑟洛特。尤文与马竞的接触昨天仍在继续，并可能持续到下周二转会窗口关闭。目前，尤文图斯与马德里竞技之间仍存在分歧。西蒙尼希望租借尼古拉斯·冈萨雷斯，但不愿放走瑟洛特。

六 | 这家西班牙俱乐部态度坚决，拒绝降低要价：4000万欧元，这个数字对尤文图斯而言似乎过高了。因此，无论乔纳森·戴维/米利克最终是否离队，斑马军团的管理层始终保留着引进齐尔克泽这一选项。这位前博洛尼亚球员并非像弗拉霍维奇——甚至是斯帕莱蒂所心仪的瑟洛特——那样的禁区内终结型前锋，但在孔蒂纳萨基地，他被视为一个高质量的引援方案；若能以租借形式从曼联将其签下，这一方案的吸引力更是不言而喻。

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Published on:00:53:25