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Hi, my name is Tony, and this is Every Frame a Painting.
大家好，我叫托尼，这里是电影艺术评价。
The most basic thing we have in film grammar is probably this:
在电影语言的语法中，最基本的东西可能是这两个：
Shot.
正打镜头。
Reverse shot.
反打镜头。
Nearly everything you watch is going to be...
你看到的几乎每一个画面都是……
Nearly everything you watch is going to be filled with it.
你看到的几乎每一个画面由它们组成的。
And most filmmakers seem to use it as a quick way to record dialogue.
大多数电影制作人似乎都把它作为记录对话的一种快捷方式。
Keep the actors still, use multiple cameras, shoot ten takes, and then make decisions in post.
让演员保持不动，使用多个摄像机，拍摄十个镜头，然后在这些镜头中做出选择。
But I think shot and reverse shot is still powerful when it's done precisely, and a good example of that is the work of Joel & Ethan Coen.
但我认为，精确地运用正打镜头和反打镜头依旧能让它发挥无法比拟的作用，乔尔·科恩和伊桑·科恩的作品就是很好的例子。
"We thought you was..."
“我们以为你是……”
"A toad."
“一只蟾蜍。”
Because the Coens are masters of the dialogue scene, and they've done it by keeping their shots simple but precise.
科恩兄弟是对话场景的大师，他们很好地运用了正打镜头和反打镜头，镜头既简单又精确。
"Can I share something with you?"
“我能和你分享一些东西吗？”
So today, let's reconsider shot and reverse shot.
所以今天，让我们重新思考一下正打镜头和反打镜头。
What can we learn from the way the Coens use it?
我们可以从科恩兄弟使用它们的方式中学到什么？
"But let me ask you a question."
“但让我问你一个问题。”
"Would an imbecile come up with this?"
“一个低能儿能画出这个吗？”
One of the first things you notice about the Coens is that they like to film dialogue from inside the space of the conversation.
关于科恩兄弟，你首先会注意到的一件事是，他们喜欢从对话双方之间的空隙拍摄对话。
And that means the camera is usually in between the two characters so that they each get separate shots.
这意味着相机通常在两个角色之间，这样就可以拍摄不同的画面。
"Do I make myself clear?"
“我说得够清楚了吗？”
In other words, they shoot a lot of singles.
换言之，他们拍摄了很多单人镜头。
"I'm sorry.”
“我很抱歉。”
"I wasn't listening."
“我没在听。”
Other filmmakers, like Paul Greengrass, prefer the camera behind the characters.
其他电影制作人，如保罗·格林格拉斯，更喜欢使用过肩镜头。
Usually on a very long lens, so you feel like you're spying
通常是用很长的镜头，给观众一种在监视的感觉。
"I want to know what happened."
“我想知道发生了什么。”
"What happened?"
“发生了什么事？”
"Jason Bourne happened."
“杰森·伯恩的事儿。”
"You got the files."
“你已经拿到文件了。”
"Then let's cut the crap."
“那我们就别说废话了。”
The Coens and Roger Deakins don't do this.
科恩和罗杰·狄金斯不会这样做。
In fact, they film almost exclusively on wide lenses
事实上，他们几乎都是用广角镜头拍摄的。
"Well I've got a very strong feeling about lenses and personally..."
“我对镜头有很强的感觉，现在……”
"I'm sitting here talking to you and you're filming me from over there, on a shoulder on probably a single."
“我坐在这里跟你说话，你在那个位置拍我，相机在肩膀上，很可能是单人镜头。”
"Where, I'd rarely do that."
“我很少这样做。”
"Cause I think, you know, the camera wants to be..."
“因为我认为，你知道，摄像机需要……”
"To me, I would shoot singles inside here."
“对我来说，我会在更近一点的这里拍摄单人镜头。”
And if you do this, switch to a wider lens and bring the camera closer, it feels like...
如果你这样做，换上广角镜头，把相机拉近一些，感觉就像这样……
"It's different right?”
“这是不同的，对吗？”
"You know, there's a sense of presence."
“你知道，这创造了一种临场感。”
"You're right there with somebody, as opposed to being."
“你是在和某人在一起，而不是在其它什么地方。”
"I think psychologically, it's a totally different effect so."
“我认为从心理上来说，这是一种完全不同的效果。”
But what is the psychological effect?
但心理影响又是什么呢？
If a long lens feels like you're spying, then how does this lens make you feel?
如果长镜头给你一种在偷窥的感觉，那么这个镜头给你的感觉是什么？
"Look, look, something is very wrong!"
“你看，你看，事情很不对劲！”
"I don't want Santana 'Abraxas'."
“我不想要桑塔纳的阿布拉克萨斯。”
"I've just been in a terrible auto accident!"
“我刚出了一场可怕的车祸！”
I would say it's two feelings: kind of uncomfortable...
我会说有两种感受：会有点不舒服……
And kind of funny.
还有点滑稽。
And it fits.
而且很合适。
Because the Coens like to isolate individuals, trapping them in situations that they really have no control over.
因为科恩兄弟喜欢拍摄单人，将他们独自困在自己真正无法掌控的情况下。
And because the lens is right here.
因为镜头就在这里——
"Now we had a deal here."
“现在我们在这里达成了协议。”
"A deal's a deal."
“一言为定。”
Is it Jerry?"
“是杰瑞吗？”
"You ask those three poor souls up in Brainerd if a deal's a deal."
“你问布雷纳德的那三个可怜的人，是不是一言为定。”
You're trapped with them.
你和他们一起被困住了。
The other effect is visual.
另一种影响是视觉上的影响。
The Coens shoot mostly on a 27mm or 32mm lens and they often push in to exaggerate some part of an actor's face.
科恩兄弟大多使用27毫米或32毫米的镜头拍摄，他们经常推近镜头来放大演员面部的某些部分。
"Frank Raffo, my brother-in-law, was the principal barber."
“我的妹夫弗兰克·拉福是首席理发师。”
"And man, could he talk."
“还有，他会说话吗？”
Using wide lenses doesn't just exaggerate the face, it also exaggerates forward camera movement, like dollying into a closeup.
使用广角镜头不仅会放大脸部，还会放大相机的移动幅度，就像推近到特写一样。
"Also a sense of action."
“这也是一种移动的感觉。”
"Like if I bring my hand closer or further from the camera..."
“就像我把手靠近或远离摄像机……”
"The wideangle lens is going to have much more effect."
“广角镜头能产生更大的效果。”
"And even if I'm shifting, like this."
“而且，即使我像这样移动。”
"Maybes don't make it so."
“也许不是这样的。”
"It's going to feel more alive, more edgy."
“会让人感觉更有活力，更前卫。”
"What, are you kidding?"
“什么，你在开玩笑吗？”
"We got us a family here!"
“我们在这里有了家！”
