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But the third effect of shooting singles this way... is environmental.
但以这种方式拍摄单人镜头的第三个影响……是要考虑周围环境的。
Shots like this have a nice balance between the character and everything around her.
像这样的镜头在角色和她周围的环境之间取得了很好的平衡。
"I'd be very surprised if our suspect was from Brainerd."
如果我们的嫌疑人来自布雷纳德，我会非常惊讶。”
"Yah."
“是啊。”
And it helps us get a quick read on very minor characters.
它还帮助我们快速记忆不重要的人物。
Think about how well you know this woman just from her clothes and her workspace.
想一想，如果仅仅从她的着装和工作空间入手，你能获得多少这位女士的信息。
"We can't give out no information."
“我们不能提供任何信息。”
But what really distinguishes the Coens is the rhythm of their editing.
但科恩兄弟真正的不同之处在于他们的剪辑节奏。
"We depress the stock."
“我们压低股票价格。
"To the point where we can buy 50%."
“到我们能买到50%股票的程度。”
"51."
“51%。”
"Not counting the mezzanine."
“不算夹层基金。”
"It could work!"
“这可能行得通！”
"It should work!"
“应该可以！”
"It would work!"
“这能起效！”
"It's working already!"
“已经这么做了！”
Many people think the rhythm comes from their dialogue.
许多人认为节奏来自于对话。
But the rhythm is actually nonverbal.
但这种节奏实际上是非语言的。
Sometimes, to feel the rhythm, you have to see it done badly.
有时，为了感受节奏的存在，你必须去看节奏非常糟糕的电影。
This is a film they wrote but didn't direct.
这是一部科恩兄弟编剧但没有执导的电影。
Watch the awkward pause between two lines of dialogue.
注意两行对话之间尴尬的停顿。
"Not that I judge."
“我并不是在评判。”
"How terribly interesting."
“太有趣了。”
"But is there a tournament of some description with rowdy goings on?"
“但这是有个吵闹的比赛在进行对吗？”
It just feels "off".
就是感觉“不对劲”。
Now watch this moment, directed by them.
现在看一看这个由科恩兄弟执导的画面。
"Cigarette?"
“抽烟吗？
"Right."
“好吧。”
And this rhythm is what underlies so many of their scenes and it's how they find nonverbal moments that other directors don't look for.
这种节奏是他们执导的许多场景的基础，也是他们能够找到其他导演不甚在意的非语言时刻的原因。
But what do all these choices add up to?
但所有这些选择叠加在一起有什么意义呢？
I think it creates a particular tone.
我认为它创造了一种特别的气氛。
Because on one level, the Coens want you to laugh at these people.
在某种程度上，科恩兄弟想让你嘲笑这些人。
After all, they use the wide lens to exaggerate the face and they time the scene for humor.
毕竟，他们使用广角镜头来放大脸部，并将场景定格在幽默的时间点上。
But on another level, the Coens want you to empathize with these characters.
但在另一个层面上，科恩兄弟希望你能与这些角色共情。
They frame wide enough so you can see the environment and they put the lens right next to people at their lowest point.
他们的镜头足够宽，让你可以看到周围的环境，并且，他们把镜头对准了处于低谷的人们。
"I am dying."
“我快要死了。”
"Do something."
“做点什么吧。”
"Help me!"
“帮帮我！”
There's an old saying: Tragedy is a closeup. Comedy is a long shot.
有一句老话说：悲剧是特写。喜剧是远景。
But for the Coens those distinctions are jumbled.
但科恩兄弟把这些区别模糊化了。
They play both tragedy and comedy in intimate singles.
他们用紧凑的单人镜头表现悲剧和喜剧。
"I miss Mike."
“我很想迈克。”
And that's the fascinating thing.
这就是最令人着迷的事情。
Because dialogue scenes aren't just about recording the dialogue.
因为对话场景不仅仅是拍摄对话。
They're also about the nonverbal behavior.
也与非语言行为有关。
"I don't guess this means much to you."
“我不认为这对你有多大意义。
"Hell yeah, I could tell you some stories..."
“见鬼，我可以给你讲几个故事。”
"And that's the point!"
“这就是重点！”
"That we all have stories."
“我们都有自己的故事。”
And by placing the camera here, using a wide lens, and following their particular rhythm the Coens have found an interesting approach to the most basic tool.
通过把相机放在这里，使用广角镜头，并遵循镜头独特的节奏，科恩兄弟找到了一种有趣的方法来运用最基础的摄影技巧——
Shot.
正打镜头。
Reverse shot.
反打镜头。
