杂谈：道具和摄影
原文节选自《驯龙高手设定集》，由龙崖社·龙之书翻译组汉化整理，本合集仅供Bilibili，爱发电（最先更新），Lofter平台龙崖社社团官方账号发布，未经授权禁止转载！
在电影中，武器占道具的很大比例，因为维京人都只关心与龙作战。这项活动需要一整套盾牌、狼牙棒、斧头和其他装备。
“这些维京人不是吹毛求疵的工匠，但他们肯定是热情的武器制造商。他们的武器是原始的、笨重的，有点像他们的大脑，”制作设计师Kathy Altieri指出。电影中所有的道具看起来都“磨损和污迹斑斑，没有什么是新的和干净的，”表面处理主管Sabrina Riegel说。“水桶放在那里长锈，斧子都必须代代相传，所以随着时间的推移，把手会变得更黑，因为手上的油和汗水已经渗入其中。”
电影中的所有道具都是特意设计出来的，这些道具有点不同寻常，但是都能看出来是作什么用的。这方面的一个完美例子是斯托克家中的鲨鱼地毯，艺术总监Pierre Oivier Vincent在四年前的电影开发过程中提出了这个想法。”这是对猎人们传统熊皮地毯的一种扭曲，但它用一点幽默表达了维京人过分热切的侵略性，”Vincent解释道。事实上，“只有北欧海盗才会出去打鲨鱼的头，只是为了用它做地毯，”制作设计师Production Designer Kathy Altieri补充道。
在村子里还可以找到许多精细的雕刻品和手工艺品。虽然研究表明，维京人的建筑是最原始和中世纪的，但电影的设计理念需要“以粗略，简单而又顽强，夸张，异想天开的图形构建图像和建筑，从而反映这一文化的头脑简单。”制作设计师Designer Kathy Altieri里说。颜色的选择也比传统的维京人肖像画更大胆，但艺术总监Pierre Oivier Vincent的灵感来自这样一个事实：“科学研究表明，在世界上许多伟大的纪念碑上都发现了颜料，比如帕台农神庙，证明这些建筑在曾经比它们在被现代文明了解到的时候更加丰富多彩。”
虽然令人生畏的维京人雕塑和引人注目的挂毯展示了维京人文化的严肃遗产，但是米德大厅的这一角却更多一些幽默：在某个时间，正门内矗立着一尊龙雕像，作为一个“收纳武器”的站，很像一个超大的针垫。
原文：
Weapons comprise a good percentage of the prop builds in the film, since Vikings are all about battling dragons. This activity requires a whole armory of shields, maces, axes, and other accoutrements.
"These Vikings are not fussy craftsmen, but they are certainly enthusiastic weapons-makers. Their weapons are primitive and chunky, kind of like their brains," notes Production Designer Kathy Altieri. All props in the film appear "scuffed and stained, and nothing is new and clean," says Head of Surfacing Sabrina Riegel. "Water buckets have been sitting around getting rusty, and axes are meant to be handed down from generation to generation, so the handles are darker where hand oils and sweat have stained them over time."
With all of the props in the film, a conscious effort was made to come up with items which were a little unusual but recognizable enough to work in whatever capacity they were intended. A perfect example of this is the shark rug in Stoick's house, an idea that came to Art Director Pierre-Oiivier Vincent over four years earlier in the film's development. "It's a twist on the traditional bearskin rug that hunters would have, but it expresses the overzealous aggression of the Vikings with a little bit of humor," explains Vincent. Indeed, "only a Viking would go out and pound a shark on the head just to make a rug out of it," adds Production Designer Kathy Altieri.
There are also many detailed carvings and artifacts to be found in the village. While research shows that Viking constructs were rudimentary and medieval, the film's design theory called for "imagery and architecture that reflected the intellectual simplicity of the culture through broad, simple shapes that are sturdy, caricatured, and whimsical," says Production Designer Kathy Altieri. Color choices were also a bit more bold than what traditional Viking iconography suggests, but Art Director Pierre-Oiivier Vincent was inspired by the fact that "scientific studies reveal that there are pigments found on many of the great monuments of the world such as the Parthenon, proving that such structures were much more colorful at one time than they are known to be in modern culture."
WHILE THE DAUNTING Viking sculptures and the dramatic tapestries illustrate the serious legacy of the culture, there is room for a bil of humor in Meade Hall: At one time, just inside the main doors a dragon statue stood as a "stow your weapons" station, much like an oversized pincushion.
