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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。
There's a quote that I love from Alexander Mackendrick.
我很喜欢亚历山大·麦肯德里克的一句话。
He said: "What a film director really directs is the audiences' attention.
他说：“电影导演真正执导的是观众的注意力。
Directing is a matter of emphasis.
导演的工作围绕“重点”展开。
You emphasize what is important...
你要强调不重要的内容……
by under-emphasizing what is less so."
以此来突出什么是重要的。”
These days, most directors create emphasis by cutting from close up, to close up, to close up.
现在，大多数导演通过从特写、特写到特写再到特写都方式来强调重点。
But too much coverage is exhausting, especially for the actors.
但太多的覆盖镜头会让人精疲力竭，特别是对演员来说。
"And say, oh, so now, you're gonne be a mechanic, so you should master close, close, closer, over, over, over.
“然后说，哦，所以现在，你要成为一名技术工，所以你应该掌握近景，近景，再近一点，放大，放大，放大。
I go hard lining, and say 'Look, I'm not gonna do that', because you already got everything you need to tell the audience what they need to know about what's happening here.
我用强硬的语气说，‘听着，我不会那么做的’，因为你已经告诉了观众他们需要知道的一切，这些内容在画面里已经展示得很清楚了。”
So today, let's consider a different option.
所以今天，让我们考虑一个不同的选择。
Instead of standard coverage, let's put all the actors in the same frame, and let them perform together.
让我们将所有演员放在同一个画面中，让他们一起表演，而不用标准的覆盖镜头。
In other words, let's talk about “ensemble staging”.
也就是说，我们来谈一谈“群戏的调度”。
Ensemble staging is all about creating emphasis without using a cut.
群戏的调度就是在不使用剪辑的情况下创造重点。
The first thing to remember is that we naturally look at whoever is speaking, and whoever is being spoken to.
首先要记住的第一点是，我们自然而然地会看向说话的人，和他的谈话对象。
This is often combined with a second technique: if someone is more important, put them closer to the light, or closer to the lens.
这通常与第二种技巧相结合：如果某个人更重要，把他们放在离光线更近的地方，或者离镜头更近的地方。
If you want someone to be less noticeable, move them further away, maybe out of focus.
如果你想让某个人不那么引人注目，就把他们移得更远，甚至焦点之外。
Of course, attention is relative.
当然，注意力是相对的。
Sometimes, you can get the audience to look at something, even when it's out of focus.
有时，即使很模糊的画面也能抓住观众的注意力。
By having it move.
方法是通过移动。
We're especially aware when somebody moves their hands or moves their eyes.
当有人移动他们的手或转移视线时，我们会给予特别的注意。
You can also guide the audience by putting something close to the center of the frame.
你也可以将一些东西放在画面中央来吸引观众。
In fact, this is one of the film's running jokes.
事实上，这是这部电影的一个搞笑片段。
Characters in the middle of the shot who keep attacking the suspects....
镜头中间不断攻击嫌疑人的角色……
Which brings us to No.5: the body position of the actors.
把我们带到了第五点：演员的身体姿势。
How are the characters turned in relation to the lens?
角色与镜头的关系是如何转变的？
Do we see their whole face, or 3/4?
我们看到的是他们的整张脸，还是四分之三？
Is it a profile, or another angle where we don't see the face at all?
看到的是侧脸，还是根本看不到脸？
When you have multiple actors in a shot, it's important to have some variation.
当一个镜头中有多个演员时，变化是很重要的。
If the audience doesn't need to look at a character right now: turn him around.
一个角色现在不重要，就把他转过去。
Notice how by doing this, you're creating contrast.
注意，这样做，可以形成一种对比。
The 3 cops on the right face each other, while detective Seo looks elsewhere.
右边的三个警察看着彼此，而苏警探在看别处。
In fact, for the first half-hour, he's constantly placed away from the main group, looking at documents that everyone else is ignoring.
事实上，在电影最初的半个小时里，他总是被安排在远离主要小组的地方，看其他人都忽略掉了的文件。
This bring us to No.7: ubtly moving the camera.
这就把我们带到了第七点：巧妙地移动相机。
Here watch out the shot narrow our focus from 4 characters...
注意这里的镜头，将我们的焦点从4个角色……
down to 2.
减少到2个。
While here, our attention moves from one side of the argument, to the other side, before settling on the eventual winner.
在这里，我们的注意力从争论的一边转移到另一边，最终回到赢家身上。
And last of all, don't forget that human beings are social creatures: we look where other people are looking.
最后，不要忘记，人是社会性生物：我们会看向别人正在看的东西。
So with all that, let's consider why Bong Joon-ho would stage something as an ensemble.
因此，让我们来考虑一下为什么奉俊昊会拍摄很多群戏。
This is my favourite shot in the entire film.
这是我在整部电影中最喜欢的镜头。
At first we think it's one story, an argument between two cops.
起初，我们认为这里只有一个故事，关于两个警察之间的争执。
And Bong seems to do very little.
奉俊昊似乎没做什么。
He just lets our attention move from detective Park, to detective Seo.
只是让我们把注意力从朴警探转移到苏警探。
But in the center of frame, something catches our eye, and we realize another character, detective Cho, is making out with the hostess in the back.
但在画面中央，有东西吸引了我们的眼球，我们意识到另一个角色，曹警探，正在和后面的女店员亲热。
So now we have 2 stories: foreground & background.
所以现在出现了两个故事：前景故事和背景故事。
And Bong plays them against each other, to contrast the serious with the silly.
而奉俊昊让他们相互“对抗”，将严肃与愚蠢的两个场景形成对比。
As the scene builds, he slowly pushes the camera in, which hides the 2 women, and focus our attention on the main pair.
随着场景的建立，他慢慢地将摄像机推入，将两个女人隐藏起来，并让我们的注意力集中在两个主要角色上。
And he lets the actors use their hands to tell the story, especially when the argument reaches his breaking point.
他让演员用手来讲述故事，特别是当争论达到临界点时。
But suddenly, the chief enters the scene.
但突然，班长出现在画面里。
This is the moment when all the ensemble staging pays off.
这是此前的所有群戏发挥效果的时刻。
We have an unexpected third story, and it interrupts both of the others with a joke.
意想不到的第三个故事突然出现，用一个笑话打断了其他两个故事。
From now on, the rest of the scene is the third story, as the chief outlines his plan to catch the serial killer.
从现在开始，这一镜头剩下的剧情都是关于第三个故事，也就是班长概述他抓获连环杀手的计划。
But why do this in one shot?
但为什么把这些都放在一个镜头下呢？
I think it underscores the theme.
我认为这是为了突出主题。
The first story is a petty argument.
第一个故事是警察之间琐碎的争论。
The second story is just lust.
第二个故事有关欲望。
None of these cops is doing work, they're all being selfish.
这些警察都不工作，他们都很自私。
It's not until the third story that they think about the victims and the case.
直到第三个故事，他们才想到受害者和案件。
The chief literally provides the moral center of the frame.
从表面上看，班长是这个场景的道德标杆。
And if Bong had shot this scene with coverage, we wouldn't see the connection between the first story and the second.
如果奉俊昊用覆盖镜头单独拍摄这几幕，我们就看不到第一个故事和第二个故事之间的联系。
And from both stories, to the third.
和从两个故事到第三个故事之间的联系。
This is the kind of directing that is unbelievably rare today, and it shows the value of playing a scene as an ensemble, rather than cutting from one face to another.
这是一种如今十分罕见的执导方式，它展示了如何将一个场景作为整体来发挥的价值，而不是从一张脸切换到另一张脸。
Because sometimes, I just want to stay in that particular place, with the actors, and let the actors settle it, and not let you help me tell the story by getting closer to my face.
因为有时候，我只是想停在某个特定的角度，让演员们待在一起，看他们支配整个场景，而不是放大演员的脸，让我在这些镜头的帮助下讲故事。
Just let me do it.
就让我这么做吧。
