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Hi, my name is Tony, and this is Every Frame A Painting.
嗨，我是托尼，这里是电影艺术评价。
The other day, someone asked me to describe my editing process.
前几天，有人让我讲解一下我的剪辑过程。
So I started talking about organizing footage and doing selects.
于是我和她说明了如何组织镜头和选择画面。
And she said, "No, your actual process; like, how do you know when to cut?"
她说：“不，是你实际的剪辑流程；比如说，你怎么知道什么时候该剪辑？”
And I couldn't describe it at all!
而我根本说不清楚！
Like a lot of editors, I cut based on instinct.
和很多剪辑师一样，我是凭直觉来剪辑的。
"Nothing gets in the way of the editing process.
“剪辑过程中不存在什么阻碍。
It's the process of your thinking.
剪辑过程是你思考的过程。
I don't cut from what I call 'knowledge'.
我不会割断我所谓的‘知识’。
I have to come into it and I have to feel it."
我必须沉浸其中，我必须感受到它。”
It's the same way for me.
这对我来说是一样的。
I have to think and feel my way through the edit.
我必须在剪辑过程中思考和摸索自己的方式。
So today, I'd like to talk about that process: How does an editor think and feel?
所以今天，我想谈谈这个过程：一个剪辑师是如何思考和感受的？
The first thing you need to know is that editing is all about the eyes.
你需要知道的第一件事是，剪辑与眼神相关。
More than any other factor, the eyes tell you the emotion of the scene.
与其他因素相比，演员的眼神能更好地向你传达场景的情感。
And the great actors understand that they Convey more through their eyes than through dialogue.
好的演员明白，他们传递信息更多地是通过眼睛，而不是对话。
"I said, 'Well, I haven't got anything to say,' so he said, 'What do you mean you haven't got anything to say?'
“我说，‘好吧，我没什么要说的，’然后他说，‘你说你没什么要说是什么意思？’
He says 'Of course you've got things to say! You've got wonderful things to say!
他说，‘你肯定有话要说！你有很多很棒的话要说！
But you sit there and listen, think of these extraordinary things to say.
但你坐在这里听，只在心里想着那些非同寻常的话。
"Elliot, sweet heart!"
“埃利奥特，我的甜心！”
"Mhm?"
“嗯？”
"Have you tried these?"
“你试过这些吗？”
"These are wonderful!"
“这些太棒了！”
And then decide not to say them! That's what you're doing!'"
然后决定还是不说了！这就是你在做的事情！’”
And when I'm watching footage, this is what I'm looking for: moments where I can see a change in the actor's eyes.
当我看镜头的时候，我寻找的是一个时刻：我能看到演员眼睛里的变化的时刻。
Like when he's making a decision.
比如一个做决定的时刻。
Shots like these are powerful because they work so well with other shots.
这样的镜头充满张力，因为它们和其他镜头配合得很好。
For instance, when we cut from his eyes to what he's looking at.
又比如，当我们从他的眼睛切到他正在看的东西时。
It tells us, without words, what he's thinking.
演员不用说话，我们就知道他在想什么。
The next concept was really hard for me to learn: emotions take time.
下一个概念对我来说真的很难领会：情绪需要时间。
When we watch people on screen, we feel a connection to them.
当我们在屏幕上看到一个人的时候，我们能够感觉到自己与他产生了联系。
And that's because we have time to watch their faces before they speak.
这是因为在他说话之前，我们有时间观察他的表情。
And time to watch them afterwards.
在他说话后也有时间观察他的表情。
Editors have to decide: "How much time do I give this emotion?"
剪辑师们需要做出决定：“我应该给这种情绪留多长时间？
So let's try an exercise: look at this shot.
所以让我们来做个练习：看看这一幕。
What do you feel while watching this?
你看到这儿的时候有什么感觉？
Now let's try it again.
现在让我们再试一次。
What do you feel while watching this?
你看这儿的时候又有什么感觉？
Was it a different emotion?
你体会到了不同的情绪吗？
Editing is full of decisions like these, where four seconds makes a big difference.
剪辑中充满了这样的抉择，四秒钟就能产生很大的不同。
And these choices are difficult.
而这些选择是艰难的。
There are no right answers.
没有正确的答案。
Some emotions play better if you see them in a single, continuous shot.
有些情绪在连续的镜头中能得到更好地体现。
But other emotions play better over multiple shots, so you can build up and come down.
但也有些情绪适合用多个镜头展现，这样才能更好地构建场景并放缓情绪的表达。
Consider this scene, where Luke Skywalker tests his skill.
看看这一幕，卢克·天行者在测试他的技能。
To make this simpler, let's just focus on how long each shot is held for.
简单起见，让我们只关注每个镜头的持续时间。
Notice that as we build, each shot gets shorter and shorter towards the climax.
请注意，随着我们的构建，每个镜头都变得越来越短，越来越接近高潮。
But after five shots, we hit the peak and start coming down.
但在五个画面后，我们到达了情节的高潮并开始放缓。
Not only are the shots getting longer again, they're actually held for longer than they were the first time.
镜头再次变长，甚至比第一个镜头持续的时间更长。
And this whole sequence spends about 15 seconds going up, but twice that amount coming down, so that we, the audience, have time to feel Luke's failure.
整个过程花了大约15秒的时间构建情绪，但用了两倍的时间放缓，所以我们，也就是观众，有时间感受到卢克的失败。
"I can't, it's too big."
“我做不到，它太大了。”
But what happens if you shorten this timing?
但如果缩短这个时间，会发生什么呢？
Let's take a look at a very similar scene, done more recently.
让我们来看看近期的电影里一个非常相似的场景。
See if you can feel the difference.
看看你是否能感觉到不同之处。
You can do it Scott, come on!
你能做到的，斯科特，加油！
They're not listening to me!
他们根本没在听我说话！
Did you believe that emotion?
你能体会到这种情绪吗？
Because in this scene, Scott's failure took 30 frames.
因为在这个场景中，斯科特的失败只用了30帧。
By comparison, Luke Skywalker's failure - took 30 seconds.
相比之下，卢克·天行者的失败用了30秒。
People aren't machines, we need time to feel the emotion, and if the movie doesn't give it to us...
人不是机器，我们需要时间来感受这种情感，如果电影不给我们这种时间的话——
We don't believe it.
我们就体会不到。
