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環太平洋
Pacific Rim
基本资料
导演吉勒摩·戴托羅
监制
剧本
故事Travis Beacham
主演
配乐拉民·贾瓦迪
摄影Guillermo Navarro（英语：Guillermo Navarro）
剪辑
  • John Gilroy
  • Peter Amundson
制片商
片长132分鐘[1]
产地美國
语言英語
上映及发行
上映日期
  • 2013年7月1日 (2013-07-01)（墨西哥城）
  • 2013年7月11日 (2013-07-11)（台灣、新加坡、馬來西亞）
  • 2013年7月12日 (2013-07-12)（美國）
  • 2013年7月18日 (2013-07-18)（香港、澳門）
  • 2013年7月31日 (2013-07-31)（中國大陸）
发行商华纳兄弟
预算$190 million[2]
票房$411,002,906[2]
前作与续作
续作《環太平洋2：起義時刻》
各地片名
中国大陆环太平洋
香港悍戰太平洋
臺灣環太平洋
新加坡悍战太平洋

Pacific Rim is a 2013 American 科幻电影 怪獸電影 directed by 吉勒摩·戴托羅, and starring 查理·杭南, 伊德瑞斯·艾尔巴, 菊地凜子, 查理·戴, 羅伯特·卡辛斯基, 馬克斯·馬蒂尼, and 朗·普尔曼. The screenplay is credited to Travis Beacham（英语：Travis Beacham） and del Toro but includes contributions from Marcus Dunstan（英语：Marcus Dunstan）, Patrick Melton（英语：Patrick Melton）, and 德魯·皮爾斯, with the story credited to Beacham.

The film is set in the 2020s, when Earth is at war with the 怪兽 (特摄)s,[a] colossal monsters which have emerged from an interdimensional portal on the bottom of the 太平洋. To combat the monsters, humanity unites to create the Jaegers:[b] gigantic humanoid 机甲, each controlled by at least two pilots, whose minds are joined by a neural bridge. Focusing on the war's later days, the story follows Raleigh Becket, a washed-up Jaeger pilot called out of retirement and teamed with rookie pilot Mako Mori as part of a last-ditch effort to defeat the Kaijus.

主体拍摄 began on November 14, 2011 in 多伦多 and lasted through April 2012. The film was produced by 传奇影业 and distributed by 华纳兄弟. It was released on July 12, 2013 including releases in 3D電影 and IMAX, receiving generally positive reviews; the visual effects and action sequences were highly praised. The film performed poorly at the United States box office, but was highly successful in other territories. It earned a worldwide total of more than $411 million, including $114 million in China, its largest market. A sequel was announced in 2014, and is scheduled to be released by Universal Studios on April 7, 2017.

Plot

[编辑]

In 2013, human cities come under attack by the Kaijus, colossal beasts who come to Earth through a portal on the Pacific Ocean floor. To combat them the 環太平洋地區 nations build the Jaegers, equally colossal robotic war machines. Each Jaeger is piloted by two people whose brains are linked (called 'drifting') to share the mental load of operating the machine. The Jaegers are initially effective, but many are destroyed as the Kaijus grow more powerful and their attacks more frequent. In 2025, the governments deem the Jaeger program ineffective and discontinue it in favor of building massive coastal walls. The four remaining Jaegers are redeployed to 香港 to defend the coast until the wall is completed. Jaeger commander Stacker Pentecost devises a plan to end the threat permanently by destroying the portal with a 氢弹.

Pentecost recruits retired Jaeger pilot Raleigh Becket to pilot Gipsy Danger, the Jaeger he and his brother Yancy once operated together. During a mission in 2020, Yancy was killed by a Kaiju while still mentally linked to his brother. Raleigh travels to Hong Kong with Pentecost and begins the process of finding a new co-pilot. Raleigh selects Mako Mori, the director of the Jaeger refurbishment project and Pentecost's adopted daughter. Pentecost reluctantly allows Mako to participate in a test run with Raleigh. During the test, Mako loses control and nearly discharges Gipsy Danger's cannon in the hangar. Pentecost deems her unready for combat and grounds the pair. When two Kaijus attack Hong Kong, destroying two Jaegers and disabling a third, Pentecost is forced to allow them to pilot Gipsy Danger. The Kaijus are defeated.

Meanwhile, scientist Newton Geiszler creates a device that allows him to drift with a Kaiju brain. He discovers that the Kaijus are not wild beasts but cloned living weapons that share a hive mind（英语：Group mind (science fiction)） and fight at the behest of a race of alien colonists who wish to invade Earth. Pentecost demands that Geiszler repeat the experiment on a different Kaiju brain and sends him to Hannibal Chau, a criminal who sells Kaiju body parts on the black market. Geiszler commissions Chau to recover an intact brain. Chau's men investigate one of the fallen Kaijus and are attacked by its unborn offspring, which devours Chau before dying. Geiszler links with its brain and learns that the ocean portal only opens for Kaiju DNA, meaning the bombing mission will fail.

The two remaining Jaegers commence the plan to bomb the portal. Pentecost is forced to pilot the Jaeger Striker Eureka after one of its pilots is injured; Raleigh and Mako pilot Gipsy Danger. Arriving at the portal, they are ambushed by three Kaijus including the largest ever encountered. A violent battle ensues, crippling Gipsy Danger and rendering Striker Eureka unable to deliver the bomb. Geiszler warns the two Jaegers that they must take a Kaiju into the portal with them for the bombing to work, and Pentecost decides to detonate his bomb immediately to clear a path to the portal for Raleigh and Mako. Since Gipsy Danger has a 反應堆堆芯 they can use it to destroy the portal. Pentecost detonates his bomb, destroying two Kaiju and his Jaeger. Gipsy Danger kills the third Kaiju and uses its body to open the portal. Once inside, Raleigh ejects Mako's escape pod and sets the Jaeger to self-destruct. The Jaeger erupts on the other side of the portal, destroying the invading aliens and the portal. Raleigh is able to jettison his escape pod and travel back before the portal collapses. Mako and Raleigh's escape pods surface safely in the Pacific, and the duo embrace as rescue helicopters arrive.

In a 片尾彩蛋, Chau cuts his way out of the newborn Kaiju's stomach.

Cast

[编辑]
Top to bottom: 查理·杭南, 伊德瑞斯·艾尔巴, and 菊地凜子 star in the film as Raleigh Becket, Stacker Pentecost and Mako Mori respectively.
A washed-up former pilot called out of retirement by the Pan Pacific Defense Corps.[7] On casting Hunnam, del Toro stated: "I saw him and I thought he had an earnest, really honest nature. And he was the kind of guy that I can relate to, as a male audience member I go, 'I like that guy. I would like to have a few beers with that guy' … he has an earthy quality.[8] Describing the character, Hunnam stated: "When you meet me, in the beginning of the story, I've suffered a giant loss. Not only has it killed my sense of self-worth, but also my will to fight and keep on going. And then, Rinko and Idris, and a couple other people, bring me out of retirement to try to help with this grand push. I think that journey is a very relatable one. Everybody, at some point in their life, has fallen down and not felt like getting back up, but you have to, no matter how difficult it is."[9] Hunnam was also considered for the role of Prince Nuada in del Toro's previous film, 地獄怪客2：金甲軍團.[10] Paul Michael Wyers plays Raleigh as a child.
Raleigh's commanding officer. On selecting Elba, del Toro stated: "This is a movie where I have had to deal with more dialogue than ever, and the way I cast the movie was—who do I want to hear say these things? Who do I want Charlie Hunnam to go against? Who can really tell Charlie Hunnam 'sit down and listen'?"[8] In another interview, the director said: "I wanted to have Idris not be the blonde, square-jawed, Anglo, super hip marine that knows [everything]. I wanted somebody that could bring a lot of authority, but that you could feel the weight of the world on his shoulders. When I watched 路德 (電視劇), that's the essence of the character... Luther is carrying literally the evils of the world on his shoulders. He's doing penance for all humanity... Idris is one of those actors that is capable of embodying humanity, in almost like a 奥古斯特·罗丹 sculpture-type, larger than life, almost like a Russian realism statue, you know, big hands, all the turmoil of humanity in his eyes. I wanted somebody that you could have doubts internally, and very few guys can do that."[11] To prepare for the role, Elba watched footage of politicians 戴维·卡梅伦 and 贝拉克·奥巴马, as well as 羅素·高爾 in 角斗士 (电影) and 米路·吉遜 in 勇敢的心.[12] Del Toro initially offered the role to 湯姆·克魯斯, who declined because of scheduling conflicts.[13]
Raleigh's co-pilot who lost her family in a Kaiju attack. Though Mori possesses a strength and fury that should serve well against the Kaijus, Pentecost is reluctant to use her, partly because of a fatherly bond and partly because he knows she is still fighting the terror of her childhood.[14] Del Toro stated: "I was very careful how I built the movie. One of the other things I decided was that I wanted a female lead who has the equal force as the male leads. She's not going to be a sex kitten, she's not going to come out in cutoff shorts and a tank top, and it's going to be a real earnestly drawn character."[15] Noting that the other actors were exhausted and "destroyed physically" by filming in the intensive Jaeger cockpit harnesses, del Toro said: "The only one that didn't break was Rinko Kikuchi, the girl. She never complained... I asked Rinko her secret and she said 'I think of gummi bears and flowers.' I try to do that in my life now."[16] 蘆田愛菜 plays Mako as a child.[17]
A scientist studying the Kaijus. Day stated: "Certainly myself and Burn Gorman provide a little bit of much needed levity, it's a break from the monsters and the guys fighting. But then the character gets thrust into the story in a way that his life is seriously at risk and it becomes a little more action oriented and a little more horror movie-esque. So, he kinda bounces back between being humorous and also being real... the rest of these guys, they look really good in their suits and they've got abs, they can kick and fight and punch. Newt is sort of the 'everyman' and he's flawed and he's arrogant."[18] Del Toro gave Geiszler the mentality of a celebrity chef（英语：celebrity chef）, with tattoos and a "big personality".[19] According to the director, Day was cast based on his performance in an episode of 酒吧五傑: "He comes out with a stick, and he has a monologue about what it is to hunt the rats in the basement. It was very funny, but he was coming from character. He was not doing big stuff, he was, like, really mourning and lamenting his job, you know, how inhuman it is. And I thought, 'This guy is great at shading and comedy.' There are moments in the movie where he delivers them both." Trek Buccino portrays Geiszler as a child.[20]
Chuck's father and co-pilot. Kazinsky stated Martini hated the fact that he was cast as Chuck's father, being only 13 years Kazinsky's senior. However Kazinsky said they developed a bond while filming, "Because we were working so tight together, we would finish and then we would go out for dinner every night and we would go to the gym together on days off we had... The emotional scene toward the end with the father-son parting, it was very easy for me to play because I had grown to actually genuinely love Max as a man and as a friend." Kazinsky revealed that Herc and Chuck's pet bulldog was del Toro's idea and said, "The dog's name was Max, ironically, and we ended up using Max for so many things. The story was that Herc and Chuck have difficulty communicating, that they communicated via the dog, and all the love that they couldn’t show each other they would show the dog."[21] The role was originally written for Ron Perlman, but del Toro decided the scenes between Perlman's Herc and Hunnam's Raleigh "might start to feel like 混乱之子 2.0".[22]
An Australian Jaeger pilot considered the finest soldier left in the Resistance. He and his father pilot Striker Eureka, "the strongest and the fastest" Jaeger with eleven Kaiju kills, and make up the Resistance's "go-to team".[23] Kazinsky, a fan of science-fiction, was initially drawn by the film's concept, "My immediate reaction was 'Holy crap, that's cool.' In the hands of somebody else, you might sit there and go, 'Well, this might be terrible,' but with del Toro doing it, you kind of go, 'This is going to be amazing.'".[21] Reflecting on his experience in the film, Kazinsky said in an interview, "The most fun I have ever had in my entire life was Pacific Rim, playing Chuck was incredibly fun."[24]
A 黑市eer who makes a living dealing Kaiju organs. Perlman stated, "I actually think this character was designed to be played by another ethnicity other than myself. And somewhere along the way, [del Toro] had the notion, 'Wouldn't it be interesting to turn this guy into more of an invention.' So, in other words, somebody takes on a persona that completely sounds like he's someone else and acts like he's someone else but he's really, you know, as you see me. That added a dimension to the larger-than-life aspect of the character... I'm playing somebody very close to my own origins. But a completely made-up persona... which makes him even more full of shit. And I think that's the charm of the guy—that he's kind of elusive, hard to pin down.[25] Pacific Rim marks Perlman's fifth appearance in a del Toro film. The director stated: "I think the moment you have a guy that is called Hannibal Chau and Ron shows up, and he's from Brooklyn and he's been selling black market organs, you know the whole story... That's all I need to know. If it's any other actor, there's a lot more explaining to do. But when Ron comes in with that look, you can make your own story and it'll be as compelling as anything I can invent. You do a little weightlifting with the audience."[11] The bird tattoos on Chau's fingers indicate his past as a gangster.[26] In the film, Chau states he took the name from his 汉尼拔 and his second-favorite 川菜 in Brooklyn.[16] Del Toro drew inspiration from 畢·蘭卡斯特's performance in Elmer Gantry（英语：Elmer Gantry (film)） when writing the character.[27]
A Chinese-American Jaeger technician. Collins described his character as the "brains" behind the Jaegers.[28]
A scientist studying the Kaijus alongside Geiszler. According to del Toro, Gottlieb is a "tweed-wearing, English, 四種氣質 introvert that never leaves the lab". The modest Gottlieb resents Geiszler's arrogance and radical behavior; the duo echo the film's theme of incompatible people functioning together when the time comes.[19] Drew Adkins portrays Gottlieb as a child.
Raleigh's older brother and co-pilot. Klattentoff joined the project to work with del Toro. Describing his character, Klattentoff stated: "This is a guy who is looking out for his very eager, younger brother and they were enabled with this gift that gave them the opportunity to kind of save the world. Or help, at least."[29] Tyler Stevenson plays Yancy as a child.
The voice of Gipsy Danger's artificial intelligence system.[30] Del Toro secured permission from Valve to cast McLain in homage to GLaDOS, her homicidal AI character in the Portal video games（英语：Portal (series)）.[31] The director stated: "It was clear to me that we needed something beautiful in that voice. My daughter is my wingman, we had done co-op on 傳送門2 for a long time and I did 傳送門 when it came out. It becomes ingrained in you, that voice. I didn't want to use her as a negative force of evil. I called Valve and asked 'Can you give us the filter?' so we went full GLaDOS for the first commercial, but I thought it was too much. If you're a gamer, it's too distracting so we created our own GLaDOS 2.0 filter that's a little less full-on."[32]

Additional Jaeger pilots include Charles Luu, Lance Luu and Mark Luu as the Wei Tang triplets (China), and Robert Maillet（英语：Robert Maillet） and Heather Doerksen（英语：Heather Doerksen） as Sasha and Aleksis Kaidanovsky (Russia). Joe Pingue（英语：Joe Pingue） portrays Captain Merrit, the captain of a fishing boat caught in a battle between Jaeger and Kaiju. Santiago Segura（英语：Santiago Segura） plays an aide to Hannibal Chau.[33] Brad William Henke（英语：Brad William Henke） and 拉里·喬·坎貝爾 portray members of a construction team Raleigh joins after retiring from the Pan Pacific Defense Corps. Robin Thomas（英语：Robin Thomas）, Julian Barnes, and David Richmond-Peck（英语：David Richmond-Peck） portray 联合国 representatives from the United States, Great Britain, and Canada respectively. Sebastian Pigott（英语：Sebastian Pigott） appears as a Jaeger engineer and Joshua Peace appears as an officer. David Fox（英语：David Fox (actor)） plays an old man on a beach, while Jane Watson portrays Raleigh and Yancy's mother in a flashback sequence.[34][35][36] Producer Thomas Tull makes a cameo appearance.[37]

Themes

[编辑]

In the film, a Jaeger's neural load is too much for a single pilot to handle alone, meaning they must first be psychically linked to another pilot—a concept called "Drifting". When pilots Drift, they quickly gain intimate knowledge of each other's memories and feelings, and have no choice but to accept them; del Toro found this concept's dramatic potential compelling. The director expressed his intention that the empathy metaphors extend to real life: "The pilots' smaller stories actually make a bigger point, which is that we're all together in the same robot [in life]... Either we get along or we die. I didn't want this to be a recruitment ad or anything jingoistic. The idea of the movie is just for us to trust each other, to cross over barriers of color, sex, beliefs, whatever, and just stick together." Del Toro acknowledged this message's simplicity, but said he would have liked to have seen adventure films with similar morals when he was a child.[27] The film's ten primary characters all have "little arcs" conducive to this idea; del Toro stated: "I think that's a great message to give kids... 'That guy you were beating the shit out of ten minutes ago? That's the guy you have to work with five minutes later.' That's life... We can only be complete when we work together." The director noted that Hellboy（英语：Hellboy (film)） and 鬼童院 told the same message, though the latter conveyed it in a very different way.[38]

The film centers on the relationship between Becket and Mori, but is not a love story in a conventional sense. Both are deeply damaged human beings who have decided to suppress their respective traumas. While learning to pilot their Jaeger, they undergo a process of "opening up", gaining access to each other's thoughts, memories and secrets. Their relationship is necessarily one of respect and "perfect trust". Hunnam commented that the film is "a love story without a love story. It's about all of the necessary elements of love without arriving at love itself".[14][39] Both Becket and Mori have suffered profound personal tragedies; one of the script's central ideas is that two damaged people can metaphorically "become one", with their figurative missing pieces connecting almost like a puzzle.[40] Del Toro emphasized the characters' emotional intimacy by filming their training fight scene the way he would a sex scene.[41]

Del Toro, a self-described pacifist, avoided what he termed "car commercial aesthetics" or "army recruitment video aesthetics", and gave the characters 西部题材 ranks including "marshal" and "ranger" rather than military ranks such as "captain", "major" or "general". The director stated: "I avoided making any kind of message that says war is good. We have enough firepower in the world."[15] Del Toro wanted to break from the mass death and destruction featured in contemporary blockbuster films, and made a point of showing the streets and buildings being evacuated before Kaiju attacks, ensuring that the destruction depicted is "completely remorseless". The director stated: "I don't want people being crushed. I want the joy that I used to get seeing 哥斯拉 toss a tank without having to think there are guys in the tank... What I think is you could do nothing but echo the moment you're in. There is a global anxiety about how fragile the status quo is and the safety of citizens, but in my mind—honestly—this film is in another realm. There is no correlation to the real world. There is no fear of a copycat kaiju attack because a kaiju saw it on the news and said, 'I'm going to destroy Seattle.' In my case, I'm picking up a tradition. One that started right after World War II and was a coping mechanism, in a way, for Japan to heal the wounds of that war. And it's integral for a kaiju to rampage in the city."[42]

Writing for the Los Angeles Review of Books（英语：Los Angeles Review of Books）, Wai Chee Dimock（英语：Wai Chee Dimock） connected the film's central theme of togetherness to its recurring image of missing shoes, stating the "utopian dream" driving the characters is "that puny humans like us could be 'together'—not only in the specific neural melding that must take place between the two Jaeger co-pilots but also, more generally speaking, in a 分形 web of resemblance, filling the world with copies of ourselves at varying orders of magnitude and with varying degrees of re-expression, beginning with the shoes on our feet."[43]

製作

[编辑]

發展

[编辑]
編劇Travis Beacham（英语：Travis Beacham）（攝於2011年）

2006年2月，據《荷里活報道》指出，導演吉勒摩·戴托羅將與新人編劇Travis Beacham（英语：Travis Beacham）合作，將他的劇本《Killing on Carnival Row》搬上大銀幕[44][45]。Beacham在2007年想到《環太平洋》的點子。他在圣莫尼卡码头的海灘散步時，想像一台巨型機器人與一隻龐然巨獸展開至死方休的戰鬥：「它們彷彿從濃霧中冒出並得到形體，巨大而且有如神降。」Beacham後來想到要讓每台機器人由兩名駕駛員操作，進而拋出一個問題：「如果其中一人死了會發生什麼事？」由此他也決定這個故事「會關於失去、關於在失去後繼續前行，以及關於如何應對內心的幸存者内疚。」[46]Beacham把這些點子寫成劇本[46]。2010年5月28日，據《Deadline Hollywood》的獨家報導，传奇影业以數十萬美元買下了Beacham寫的25頁劇本大綱（英语：film treatment），大綱細節豐富，並已有標題「Pacific Rim」（環太平洋）[47]。

2010年7月28日，報導稱戴托羅的下一部導演作品將改編自H·P·洛夫克拉夫特的小說《瘋狂山脈》，片商為环球影业，並有詹姆斯·卡梅隆擔任製片人[48]。戴托羅在與传奇影业討論合作機會時，他相當中意Beacham的劇本大綱，儘管在當時還很不起眼[49]。戴托羅與传奇影业談妥：在他執導《瘋狂山脈》的同時，他會一邊參與《環太平洋》的監製與編劇工作；由於時程撞期，除非《瘋狂山脈》被腰斬，否則戴托羅不可能執導《環太平洋》[32]。當時湯姆·克魯斯已被安排為《瘋狂山脈》的主演[8]。然而在2011年3月7日，報導稱环球影业已無意製作《瘋狂山脈》，原因在於戴托羅堅持要有1.5億美元的預算以及要把該片拍成R級，雙方談不攏[50][51]。戴托羅對於企劃中止感到非常難過[52]。到了同一週的星期五（3月11日），《瘋狂山脈》大勢已去，戴托羅在下週一（3月14日）便簽約執導《環太平洋》[8]。

戴托羅花費一年時間與Beacham一起研究劇本，也因此得到共同編劇的名分。戴托羅提出他從以前就渴望在這類電影看到的東西，例如怪獸被生出來，以及從孩童的視角來看怪獸的襲擊[41]。Neil Cross（英语：Neil Cross）曾參與劇本改寫，但沒有留名；此人先前打造了本片演員伊德瑞斯·艾尔巴主演的電視劇《路德》，並為戴托羅監製的恐怖電影《屍人保姆》編劇[53]。此外還有另一人是德魯·皮爾斯[54]，而戴托羅看上Patrick Melton（英语：Patrick Melton）與Marcus Dunstan（英语：Marcus Dunstan）所寫的待售劇本《Monstropolis》後，也延攬兩人來改寫劇本[55]，以上三人同樣沒有掛名。

拍攝

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導演吉勒摩·戴托羅（攝於2015年）

本片的主体拍摄於2011年11月14日開始[56]，至2012年4月時在多伦多進行[57]。戴托羅在本片完成拍攝的第二週後發布消息[58]。本片在拍攝期間被以暂定名称「默海」（Silent Seas）和「靜海」（Still Seas）稱之[59]。

戴托羅的電影一向花上至少115天來拍攝，但《環太平洋》的時限只有103天。為了如期完成，戴托羅額外安排了一隊拍攝組，讓他在一天還早時、主戲開拍前，以及休假日時仍可以追趕拍戲進度。在拍攝期間，戴托羅幾乎都是一週工作7天，每天工作17至18個小時。戴托羅也換了一種幫演員導戲的方法，即減少限制演員的走位和即興演出；不過他對整部片嚴格把控：「每樣東西遲早都一定要過我這關。我絕不請人代勞。有些人喜歡這樣，有些人不喜歡，但就是該這麼做。」[60]

本片採用瑞德Epic攝影機進行拍攝[61]。戴托羅原本決定不將本片拍成3D電影，因為片中的機器人和怪獸體型龐大，3D的效果不佳：

「我不想拍成3D是因為當有這麼大的東西時……你相機對著300英尺（91米）外的兩棟樓，你一旦一動就會失去视差。它們大到在3D的情況下，不管你移動多快，觀眾都接收不到東西……若要強行做出效果，你必須將觀眾的視角微縮化，讓它們在規格上變成人的大小。」[62]

不過後來官方宣布本片將在後製時轉製為3D電影，戴托羅對此態度坦然：「我能怎麼說？我改變想法了。」本片的3D轉製過程比其他電影還多花了40週。[63]

在剪輯時，戴托羅刪掉了約1個小時的電影內容。被刪片段更加深入角色以及他們的角色弧线，戴托羅認為有必要收斂、平衡一些：「我們不能騙自己說這是有著怪獸和巨大機器人的易卜生作品。我也不能騙自己說我正在搞什麼深奧的人類反思。」每個角色的角色弧线都被刪減到剩下最低限度。[38]戴托羅希望片長收緊在2小時左右，特別是為較年幼的觀眾著想。其他導演阿利安卓·崗札雷·伊納利圖與艾方索·柯朗有出手幫忙本片的剪輯；伊納利圖刪掉了加起來有十分鐘的片段，柯朗剪掉的片段只有寥寥幾分鐘，但他幫忙調整了數個片段的安排[64]。伊納利圖與柯朗在片尾獲得「特別銘謝」，卡梅隆與大衛·柯能堡也在列[65]。

設計

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Del Toro drew inspiration from 弗朗西斯科·戈雅's The Colossus（英语：The Colossus (painting)）, and hoped to evoke the same "sense of awe" with the film's battles.[49]

戴托羅對《環太平洋》的願景是一個真誠且豐富多彩的冒險故事，帶有「非常舒暢輕快的感覺」，有別於他口中的「超級陰鬱、超級黑暗且憤世嫉俗的夏日電影」。他致力於打造「規模宏大、帶有美感且精心安排的視覺體驗」以及能夠滿足成人觀眾的動作場面，不過他也稱自己「真正的願望」是將怪獸與機甲題材的作品推介給孩童。[52]該片的設計師有韋恩·巴洛（英语：Wayne Barlowe）與奧斯卡·奇丘尼（英语：Oscar Chichoni），兩位怪獸雕塑家大衛·孟（David Meng）與賽門·李（Simon Lee），以及參與過《地獄怪客2：金甲軍團》和《哈比人》系列電影的法蘭西斯科·魯伊斯·貝拉斯科（Francisco Ruiz Velasco）[49]。戴托羅曾坦承，當初為胎死腹中的《瘋狂山脈》電影所做的一些設計，有可能會在《環太平洋》中使用[41]。

該片的製作方向是向怪獸與機甲類型致敬，但同時保持自身的獨創性。戴托羅不希望直接引用過去作品的內容，他想打造的是帶有原創性，但又感受得到對靈感來源之愛的作品，並且要為之注入「史詩般的美感」和「歌劇般的壯闊」[66]。戴托羅強調不能搞模仿也不能搞參考，一切要從零開始；他警告手下的設計師，不准他們從《大怪獸卡美拉》、《哥吉拉》或《科學怪人的怪獸 山達對蓋拉》等電影中汲取靈感。[66][67]與其仿效流行文化作品，戴托羅參考藝術作品，例如弗朗西斯科·戈雅的《巨人（英语：The Colossus (painting)）》與喬治·貝洛斯（英语：George Bellows）的拳擊題材畫作[49][68]。不過該片仍以片尾字幕的形式向雷·哈利豪森與本多豬四郎致意，兩人各自以作品《原子怪獸》和《哥吉拉》促進了巨大怪獸類型作品的發展[69]。

製作團隊設計了約一百隻怪獸和約一百台機甲獵人，但只有一小部分出現在電影中；團隊成員每週都會舉辦類似《美國偶像》的活動，票選出最佳設計[3]。對於設計怪獸，美術班底經常從大自然汲取靈感，而不是從其他作品。戴托羅說明道：「可以說怪獸總是稀奇古怪的，但它們也有分門別類：爬蟲類怪獸、昆蟲怪獸還有甲殼類怪獸……把一個稀奇古怪的設計，用真實動物結構和細節加以呈現，這個過程非常有趣。」[4]戴托羅也避免把怪獸設計得太像地球生物，希望有種來自其他世界、像外星生物一樣的感覺[70]。戴托羅將片中的怪獸稱作「兵器」，指出它們是「清掃大隊，就像送進倉庫裡除鼠的貓」。怪獸們共享某些特定的設計要素，暗示它們有所聯繫，是為了同個目的而被做出來的。[32]每隻怪獸的設計都略帶一點人形，呼應了早期日本怪獸電影中的道具裝美學[5]。戴托羅的其他作品中有著古老或受創的怪獸，但《環太平洋》的怪獸沒有傷疤或任何舊文明的存證，由此可知它們是工程產物，而不是演化系統的結果[70]。

片中第一個出現的怪獸「鬼刀頭」（Knifehead）致敬1960年代日本電影中步伐沉重緩慢的怪獸，設計上刻意讓它看起來很像穿著橡膠裝的人；它的頭部參考自欧氏尖吻鲛[38]。「革龜」（Leatherback）姿態有如保鑣，有著充能後發射電磁波的能力，是戴托羅的最愛，他視之為「有著啤酒肚的打架好手」；大猩猩的笨重動作被用來當作參考[71]。「鐵尾」（Otachi）致敬中國神話裡的龍。戴托羅稱它為「瑞士刀怪獸」；這隻怪獸在大銀幕上登場達20分鐘，為了不讓觀眾厭倦而被賦予多樣的特性。「鐵尾」在水裡的移動方式類似科摩多巨蜥，它擁有多層下顎，頸部的囊袋充滿酸液，在必要時還會張開雙翅。[3]它也比其他怪獸更加聰明，會採取戰術（靈感來自老鷹）來對付機甲獵人[71]。害森真子失去父母的怪獸「惡魔女巫」（Onibaba）看起來像是日本寺廟和甲殼動物的合成體[71]。「毒婦」（Slattern）是片中體型最大的怪獸，它的特徵是極長的脖子和「一半像角、一半像冠」的頭部，戴托羅認為後者讓它的外觀感覺邪惡卻又氣勢非凡[71]。

美國機甲獵人「吉普賽危機」（Gipsy Danger）的設計取材自紐約的裝飾風建築之外型，例如克萊斯勒大廈和帝国大厦，同時融入約翰·韋恩的槍手步態和臀部動作。俄羅斯機甲獵人「車諾阿爾法」（Cherno Alpha）參考了該國的T系列坦克的形狀和塗裝，並結合一個巨大的筒狀防護倉，使之形似會行走的核電廠，頭上還有一根冷卻塔。[3]中國機甲獵人「暴風赤紅」（Crimson Typhoon）有三支手臂，由三胞胎鴐駛員操控，外觀給人的感覺是「中世紀的嬌小戰士」；它的塗裝令人聯想到鑲金邊的中國紅色漆木[71]。澳洲機甲獵人「衝鋒發現號」被戴托羅比做路虎；身為最優雅且最具肌肉感的機甲獵人，它有著向外挺出的胸膛、讓人聯想到澳洲內陸的迷彩圖裝，以及勇敢的駕駛員[71]。

片中的服裝由沙恩·馬漢（英语：Shane Mahan）與凱特·霍利（Kate Hawley）設計，兩人花費數個月鑽研機甲獵人駕駛員的服裝。俄羅斯駕駛員的服裝是老派風格，設計上對應到太空人的服裝。[68]

Visual effects

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光影魔幻工業 was chosen to create the visual effects for Pacific Rim. Del Toro hired 奥斯卡金像奖 winners 约翰·诺尔 and Hal T. Hickel（英语：Hal T. Hickel）, both known for their work on the 星際大戰 星際大戰前傳三部曲 and the Pirates of the Caribbean（英语：Pirates of the Caribbean） films. Legacy Effects（英语：Legacy Effects） was hired to do the special and practical effects on the film. Shane Mahan（英语：Shane Mahan）, known for creating the armored suits for 鐵甲奇俠 (電影), was hired on as effects supervisor. John Rosengrant（英语：John Rosengrant） was also brought in for his work on 铁甲钢拳. Oscar winner Clay Pinney（英语：Clay Pinney）, known for his work on 天煞-地球反擊戰 and 星际旅行电影列表, was also brought on board. 育碧子公司列表, a division of 育碧, and Rodeo FX also contributed to the visual effects.[72][73]

Del Toro used classic art such as 葛饰北斋's 神奈川沖浪裏 as a reference for the film's ocean battles.

Del Toro conceived the film as an operatic work: "That was one of the first words I said to the entire team at ILM. I said, 'This movie needs to be theatrical, operatic, romantic.' We used a lot of words not usually associated with high-tech blockbusters … We went for a very, very, very, very saturated color palette for the battle for Hong Kong. I kept asking John to tap into his inner Mexican and be able to saturate the greens and the purples and the pinks and the oranges." The classic Japanese 雕版印刷 神奈川沖浪裏 by 葛饰北斋 was a common motif in the ocean battles; Del Toro recalled, "I would say 'Give me a Hokusai wave' … we use the waves and weather in the movie very operatically."[74] The director asked that Knoll not necessarily match the lighting from shot to shot: "It's pretty unorthodox to do that, but I think the results are really beautiful and very artistically free and powerful, not something you would associate with a big sci-fi action movie." Del Toro considers the film's digital water its most exciting visual effect: "The water dynamics in this movie are technically beautiful, but also artistically incredibly expressive. We agreed on making the water become almost another character. We would time the water very precisely. I'd say 'Get out of the wave [on this frame].'"[74]

The film also features extensive miniature effect（英语：miniature effect） shots provided by 32TEN Studios, under the supervision of ILM VFX Producer Susan Greenhow and ILM VFX Supervisors John Knoll and Lindy DeQuattro. Shot using RED Epic cameras on 3D rigs, the scenes produced by 32TEN involved the creation of a ¼ scale office building interior which was destroyed by the fist of a Jaeger robot which was on a separate pneumatically controlled rig, as well as a sequence which depicted several rows of seats in a soccer stadium being blown apart as a Jaeger lands in the stadium, which was created by using ¼-scale seats blown apart by air cannons. Additionally 32TEN provided several 现场特效 elements for ILM’s compositing team including dust clouds, breaking glass and water effects.[75]

Video game

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主条目：Pacific Rim (video game)

A single-player fighting video game based on the film was announced by the 澳大利亚分级委员会 for Xbox 360 and PlayStation 3. Published and developed by Yuke's（英语：Yuke's）, Pacific Rim: The Video Game（英语：Pacific Rim (video game)） was released along with the film on July 12, 2013.[76] The game received generally negative reviews.[77] Reliance Games（英语：Reliance Entertainment） developed a Pacific Rim tie-in game for 智能手机 platforms, such as IOS and Android devices;[78] this version also received negative reviews.[79]

Music

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主条目：Pacific Rim (soundtrack)

The film's score was composed by 拉民·贾瓦迪.[80] Del Toro selected Djawadi based on his works on 越狱 (电视剧), 鐵甲奇俠 (電影), and 权力的游戏 (电视剧), stating: "His scores have a grandeur, but they have also an incredible sort of human soul." The director also stated that some Russian rap would be featured in the film.[81] The soundtrack was released on digital download from 亞馬遜公司 on June 18, 2013 and CD on June 25, 2013.[82] The physical version of the soundtrack was released on July 9, 2013 by the WaterTower Music（英语：WaterTower Music）, three days before the theatrical release of the film itself.[83] Guest musicians Tom Morello（英语：Tom Morello） and 普莉西雅·安 also feature as soloists on the score.[83] Two songs appear in the film which are not included on the soundtrack are "Just Like Your Tenderness" by Luo Xiaoxuan, and the ending theme "Drift", performed by Blake Perlman featuring RZA.[84] The OST received mostly positive reviews. The Action Elite rated the album with a perfect five stars,[85] the 帝國雜誌 gave four,[86] while MSN and Filmtracks also gave the soundtrack four out of five stars.[87][88] On July 27, 2013, the soundtrack was appeared at peak position number 7 on "US Billboard Top Soundtracks."[89]

Marketing and promotion

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On November 28, 2012, the official film website premiered alongside two viral videos—one depicting the initial Kaiju attack as captured by a handheld camera.[90] Blueprints depicting the designs for the Jaeger machines were also released online.[90] On June 5, 2013, the graphic novel Pacific Rim: Tales from Year Zero was released. Written by Travis Beacham and featuring cover art by Alex Ross（英语：Alex Ross）, Tales from Year Zero serves as an introductory prologue to the film, and is set twelve years before its events.[91][92] On June 18, Insight Editions published Pacific Rim: Man, Machines, and Monsters, an art book written by David S. Cohen. The book chronicles the film's production with concept art, photography, the cast and crew's accounts of the shoot, and a foreword by del Toro.[93] On July 2, a viral video was released in which Ron Perlman's character, Hannibal Chau, advertises his fictional Kaiju organ dealership, Kaiju Remedies.[94]

On the day of the film's release, July 12, 2013, another viral video was released to promote the film. It involved the collaboration of the film studio (including del Toro himself) and the YouTube network Polaris (also known as The Game Station). It featured members of the YouTube network (such as the Game Grumps（英语：Game Grumps）) as Jaeger pilots fighting kaiju.[95] On July 16, a novelization by Alex Irvine（英语：Alexander C. Irvine） was released.[96] 国家娱乐收藏品协会 began selling 可動人偶 of the film's Kaijus and Jaegers.[97]

Release

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Pacific Rim was initially expected to reach theaters in July 2012. However, Warner Bros. decided to postpone the film's release date to May 10, 2013. In March 2012, it was announced that the film would be released on July 12, 2013.[98] The film premiered in 墨西哥城 on July 1, 2013.[99]

Box office

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Pacific Rim grossed $101.8 million in North America, and has had a favorable international release, grossing $309.2 million in other countries, for a worldwide total of $411,002,906.[2]

The film grossed $3.6 million from Thursday night showings, 23 percent of which came from IMAX showings. It then faced competition from 亞當等大人2 and ultimately fell behind it on opening day, earning $14.6 million.[100] The film reached the #3 spot during the opening weekend with $37.2 million, behind 神偷奶爸2 and Grown Ups 2. This is the highest ever opening for a film by del Toro, surpassing 地獄怪客2：金甲軍團. Around 50 percent of tickets were in 3D, which makes it the second highest 3D share of 2013, behind Gravity (消歧義).[101] During its second weekend, the film dropped a steep 57% with a gross of $16 million, and during its third weekend, had dropped a further 52% with a gross of $7.7 million.[102]

On July 22, 2013, it was reported that the film had reached #1 at the international box office over the weekend.[103] The film had a successful opening in China, grossing $45.2 million, the largest opening in China for a Warner Bros. title, and the sixth-largest Chinese debut of all time for any Hollywood film.[104] On August 19, 2013, its gross crossed $100 million in China alone, becoming the sixth-highest grossing American film ever in China.[105] It grossed a total of $114.3 million in the country, making China the largest market for the film.[106] In Japan, the film landed in the fifth position on opening weekend, with an initial earning of $3 million (behind 地球末日戰Template:-'s gross of $3.4 million).[107][108]

In September 2013, 福布斯 highlighted Pacific Rim as "the rare English-language film in history to cross $400 million while barely crossing $100 million domestic".[109]

Critical response

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Pacific Rim received generally positive reviews from critics. Review aggregation website Metacritic gives a rating of 64 out of 100 based on reviews from 48 critics, which indicates "generally favorable" reviews.[110] Template:Rotten Tomatoes score

每日电讯报's Robbie Collin（英语：Robbie Collin） awarded the film five stars out of five, likening the experience of watching it to rediscovering a favorite childhood cartoon. He praised del Toro for investing his own affection for the genre and sense of artistry into the project in such a way that the viewer found themselves immersed in the film rather than watching from afar, noting the director had catered to younger and older audiences alike and expressed surprise that the film could rise above the sum of its parts.[111] 陶德·麥卡錫 of 荷里活報道 gave a positive review, describing the film as the sum of the potential every monster film had ever tried to fulfill.[112] Lou Lumenick（英语：Lou Lumenick） of 紐約郵報 gave the film four stars out of four, and said it had "no shortage of brains, brawn, eye candy, wit and even some poetry", praising the "clean and coherent" action sequences and the "terrific chemistry" between Hunnam and Kikuchi.[113] Drew McWeeny of HitFix highlighted other aspects of the film, paying particular attention to the production and art design. He also praised the cinematography for "perfectly capturing" the film, and described the score as "ridiculously cool".[114] 滾石 (雜誌)'s 彼得·崔維斯 called the film "the work of a humanist ready to banish cynicism for compassion", saying that del Toro "drives the action with a heartbeat".[115] Keith Uhlich of Time Out called the film "pure, pleasurable comic-book absurdity", and noted that del Toro had lent the proceedings a "plausible humanity" lacking in most of summer 2013's destruction-heavy blockbusters. He said the Kaijus' civilian victims make a "palpably personal impression", deeming one scene with Mako Mori "as mythically moving as anything in the mecha anime, like 新世纪福音战士, that the director emulates with expert aplomb."[116] 村聲's Stephanie Zacharek called it "summer entertainment with a pulse", praising its "dumbly brilliant" action and freedom from elitism, but noted the story is predictable and suggested del Toro's time would be better spent on more visionary films.[117] Angela Watercutter of 连线 called it the "most awesome movie of the summer", a "fist-pumping, awe-inspiring ride", and opined that its focus on spectacle rather than characterization "simply does not matter" in the summer blockbuster context.[37] Richard Roeper（英语：Richard Roeper） gave the film a B, commenting that either the Jaegers or Kaijus "can take down any of the 变形金刚电影系列."[118] Leonard Maltin（英语：Leonard Maltin） gave the film two-and-a-half out of four stars, calling it "three-quarters of a really good movie that doesn't know when to quit."[119]

衛報's Andrew Pulver was less enthusiastic, calling the film a mix of "wafer-thin psychodrama" and "plot-generator dialogue".[120] 時代雜誌's Richard Corliss（英语：Richard Corliss） said the action was let down by "inert" drama, describing the film as "45 minutes of awesome encased in 90 minutes of yawnsome."[121] Justin Chang of 綜藝 (雜誌) criticized it as loud and lacking the nuance and subtlety of del Toro's previous films.[122] 紐約客's Anthony Lane's verdict read as "It is possible to applaud Pacific Rim for the efficacy of its business model while deploring the tale that has been engendered — long, loud, dark, and very wet. You might as well watch the birth of an elephant."[123] The 旧金山纪事报's Mike LaSalle reacted extremely negatively by stating "If this is the best we can do in terms of movies - if something like this can speak to the soul of audiences - maybe we should just turn over the cameras and the equipment to the alien dinosaurs and see what they come up with... Director Guillermo del Toro, who gave us 羊男的迷宮 not too many years ago, used to be known as an artistic and discerning filmmaker, despite his affection for blockbuster action and grotesqueness. But too often he gets lost in his computer...Why go to the movies to look at somebody else's computer after looking at your own all week?... The actors can't make Pacific Rim any better. They can only relieve some of the pain."[124] 偏锋杂志's Ed Gonzalez, who said the film lacked poignancy, compared it to a video game: "a stylish but programmatic ride toward an inevitable final boss battle".[125] The Wrap's Alonso Duralde（英语：Alonso Duralde） criticized the choice to set most battles at night or during the rain, feeling it detracted from the action, and said the comic relief actors—Day, Gorman, and Perlman—stole the film from the less interesting leads.[126] Jordan Hoffman of RealNetworks identified Hunnam as the weak link in the cast, calling him a "charisma black hole".[127] Giles Hardie of 雪梨晨鋒報 was particularly critical of the film, awarding the action sequences "five 智商 out of five" as he described the film as an hour and twenty minutes of fight sequences vaguely connected by ten minutes of story.[128]

Director 莱恩·约翰逊 praised the film,[129] as did Japanese game director 小岛秀夫, who called it the "ultimate 御宅族 film" and stated he "never imagined [he] would be fortunate enough to see a film like this in [his] life".[130] 永井豪, who pioneered the idea of mecha piloted from an interior cockpit, praised the film's fun and intense action, while game developer 上田文人 said its battle scenes surpassed memories of the 特攝 films he saw as an impressionable child.[131] Science fiction author 威廉·吉布森 called the film "A ravishing display of intelligent, often wonderfully witty visual design, every frame alive with coherent language, in the service of what is at heart a children's story... A baroque that doesn't curdle, that never fetishizes itself."[132]

The inclusion of only one female character of note resulted in Pacific Rim not passing the 贝克德尔测验. This became a topic of discussion in the media and on the Internet. Opinions were divided between those pointing to the film as an example of Hollywood's practice of ostracizing women, and those noting that the film did not 性客体化 Mako Mori and gave her a narrative arc not revolving around a man.[133][134]

Accolades

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Award Category Winner/Nominee Result
ABFF Hollywood Awards（英语：American Black Film Festival） Artist of the Year 伊德瑞斯·艾尔巴 (also for 曼德拉 (电影) and 雷神2：黑暗世界) 提名
安妮獎 Outstanding Achievement, Animated Effects in a Live Action Production 獲獎
Outstanding Achievement, Character Animation in a Live Action Production 提名
英国电影学院奖 Best Special Visual Effects（英语：BAFTA Award for Best Special Visual Effects） 提名
评论家选择电影奖 評論家選擇電影獎最佳視覺效果 提名
电影奖列表 Best Science Fiction/Horror Film 提名
帝國獎 Best Sci-Fi/Fantasy 提名
Hollywood Film Awards Best Visual Effects John Knoll 獲獎
Las Vegas Film Critics Society Best Horror/Sci-Fi Film 獲獎
土星獎 土星獎最佳科幻電影 待定
Best Director（英语：Saturn Award for Best Director） 吉勒摩·戴托羅 待定
Best Production Design Andrew Neskoromny and Carol Spier（英语：Carol Spier） 待定
Best Editing（英语：Saturn Award for Best Editing） Peter Amundson and John Gilroy 待定
Best Special Effects（英语：Saturn Award for Best Special Effects） John Knoll, James E. Price, Clay Pinney and Rocco Larizza 待定
圣路易斯影评人协会 Best Visual Special Effects John Knoll 提名
青少年选择奖 Summer Movie Action 提名
視覺效果工會 Outstanding Visual Effects in a Visual Effects-Driven Feature Motion Picture John Knoll, Susan Greenhow, Chris Raimo, Hal Hickel 提名
Outstanding Animated Character in a Live Action Feature Motion Picture Jakub Pistecky, Frank Gravatt, Cyrus Jam, Chris Havreberg for Kaiju - Leatherback 提名
Outstanding Created Environment in a Live Action Feature Motion Picture Johan Thorngren, Jeremy Bloch, David Meny, Polly Ing for "Virtual Hong Kong" 提名
Outstanding Virtual Cinematography in a Live Action Feature Motion Picture Colin Benoit, Nick Walker, Adam Schnitzer, Victor Schutz for "Hong Kong Ocean Brawl" 提名
Outstanding Models in a Feature Motion Picture David Fogler, Alex Jaeger, Aaron Wilson, David Behrens 提名

Home media

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Pacific Rim became available for download on the ITunes Store and Vudu（英语：Vudu） on October 1, 2013.[135] The film was released on DVD and 藍光光碟 in the USA on October 15, 2013. It will be released on home video in the UK and other countries on November 25.[136] A collector's edition was also available on the same date.[137] To help promote the home media release, Bryan Harley and Roque Rodriguez of 弗雷斯诺, produced a "sweded（英语：sweded）" version of the film's Gipsy Danger vs. Otachi battle scene, after del Toro was impressed by the duo's "sweded" trailer released on YouTube in March 2013.[138] As of March 2014, Pacific Rim has sold 961,845 DVDs along with 1,427,692 Blu-ray discs for $10,045,530 and $24,634,992 in revenue respectively for a total of $37,079,122.[139]

Sequel

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In July 2012, del Toro discussed the possibility of making a Pacific Rim sequel. "We always leave ideas that were in the first draft as you go along. You know, either a set piece that was great but too expensive, an idea that was really bright, but it couldn't quite fit the structure... so we have a little stash of stuff we wanted to do that we didn't get to do. So if that's a possibility, A) I would be very happy to do a sequel, but B) a lot of these ideas, set pieces and all that, actually have in them a really good seed for a sequel."[140] On December 4, Legendary Pictures announced that it had selected Pacific Rim co-writer Travis Beacham to write the sequel, along with del Toro, though there was no comment as to whether del Toro would return to direct the second film.[141] At WonderCon（英语：WonderCon） 2013, del Toro expressed enthusiasm for a potential crossover between Pacific Rim and 哥斯拉 (2014年电影)—another Legendary Pictures kaiju film—but stressed that no such plans were in place.[142] In July 2013, del Toro discussed the sequel, stating: "The main idea that we're bouncing off is the fact that Newt drifted with a Kaiju brain, and all Kaiju brains are connected. We say that. They are like a hive mentality. So, you know, draw your own conclusions."[143] The director has also stated the sequel will feature "Gipsy 2.0Template:-", as well as a "merging of Kaiju and Jaeger".[144] In October 2013, del Toro revealed that he and Beacham would return to write the sequel, despite the film not yet being greenlit at the time.[145]

In June 2014, when the sequel was still unconfirmed, del Toro stated that he had secretly been working on the script with 塞克·潘 for several months and confirmed that Raleigh and Mako would return. Beacham initially developed the storyline with del Toro, but dropped out to work on the TV series Hieroglyph（英语：Hieroglyph (TV series)）.[146] Later in June 2014, del Toro confirmed that he would direct the sequel, and that it would be released by Universal Studios on April 7, 2017. A non-episodic animated series connecting both films[147] and a continuation of the graphic novel were also announced.[148][149] On July 9, del Toro announced that pre-production for Pacific Rim 2 would start in August 2014, with 主体拍摄 commencing in late 2015.[150]

Notes

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  1. ^ The name of the monsters comes from the 日语 word kaijū (怪獣?, "strange creature, monster"). Japanese lacks a plural form for its words, but it is often common for Japanese loanwords into English to receive English style pluralization.[3][4][5] Travis Beacham has said that he believes both "kaiju" and "kaijus" to be correct within the film's universe, although he prefers the former.[6]
  2. ^ The name of the giant robots comes from the 德语 word Jäger ("hunter"). In German, the plural form for this word occurs in the definite article rather than as a suffix to the word itself ("der Jäger" is "the hunter"; "die Jäger" is "the hunters"). However, the film specifically uses the plural "Jaegers".

References

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