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Hi, my name is Tony and this is Every Frame a Painting.
大家好，我是托尼，这里是电影艺术评价。
So here's a fundamental question: When you're judging a shot, what's the first thing you look for?
有一个基本的问题：当你评判一个镜头时，你首先要看的是什么？
Is it balance?
画面的平衡？
Leading lines?
引导线？
Golden ratio?
黄金切割比？
Color?
颜色？
Light?
光线?
Shapes?
形状？
I think these are all essential, and they're all part of good images.
我认为这些都是必不可少的，它们都是好画面的一部分。
But there's one thing I always notice first: Movement.
但我最先注意到的是另一个要素：运动。
-For me, Kurosawa is the Beethoven of movie directors.
-对我来说，黑泽明是电影导演界的贝多芬。
-It's that recognizable full sound that Beethoven had.
-他和贝多芬一样，有辨识度很高的作品。
-that is so unmistakable.
-不可能认错。
A Kurosawa film moves like no one else's.
黑泽明电影中的运动和其它电影别无二致。
Each one is a masterclass in different types of motion and also ways to combine them.
他的每一部电影中的运动和将这些运动结合在一起的方法都是大师级的。
Over a career spanning half a century, he made 30 films, and in all of them, the movement is surprising and cinematic.
在跨越半个世纪的职业生涯中，他制作了30部电影，所有这些电影中的运动都令人惊叹且充满电影感。
Wow.
哇。
If you'd like to see the names of the films, press the CC button below.
如果你想知道电影的名字，请按下面的CC按钮。
So what types of movement did he like?
那么他喜欢什么类型的运动呢？
First, there's the movement of nature.
首先，是大自然的运动。
In every one of his films, the background of the shot features some kind of weather.
他的每部电影都以某种天气作为背景。
Wind.
刮风。
Water.
水流。
Fire.
火焰。
Smoke.
浓烟。
Snow.
下雪。
One advantage of this approach is that shots have a lot of visual interest.
这种方法的优点是，镜头具有很强的视觉趣味性。
Even when people are still, there's rain in the background to draw your eye.
即使在角色静止的时候，也会有雨在背景中吸引你的目光。
-Rain is a real emotional trigger that works in any film...
-雨是一种真正的情感触发器，适用于任何电影……
-You know, anything that's excessive because it gives you another layer that the audience can relate to sensually.
-而其它的元素就太过了，因为雨能够从另一个层面让观众在感官上与电影相互联系。
Second, there's the movement of groups.
第二，是群体的运动。
Kurosawa films usually feature large groups of people who band together...
黑泽明的电影通常都有一大群人，团结在一起……
Or split apart.
或分崩离析。
Crowds like this are really cinematic.
像这样的人群很有电影感。
When you put this many people in a shot, any emotion feels big.
当你把这么多人放在一个镜头中时，任何情绪都会被放大。
If you want a good reaction shot, try using four people...
如果你想要一个好的反应镜头，试试用四个……
Or twenty-five.
或二十五个人。
And if you want something really big...
如果你想要渲染更强烈的情绪……
Which brings us to No.3: the movement of individuals.
这就把我们带到了第三点：个人的运动。
One of my favorite things about Kurosawa is that his blocking is unrealistic and exaggerated.
我最喜欢黑泽明的一点是，他拍摄的人物走位是不现实且夸张的。
If someone is nervous, they pace left and right.
紧张的人会左顾右盼。
If they're outraged, they stand straight up.
愤怒的人会挺身而出。
And if they're ashamed...
感到羞耻的人……
He would often tell his actors to pick one gesture for their character and repeat it throughout the film.
他经常告诉演员们为他们的角色挑选一个姿势，并在整部电影中重复这一姿势。
That way, the audience can quickly see who's who and how they're feeling.
这样，观众就能很快将动作与人物对应起来，理解他们的感受。
No.4: movement of the camera.
第四点：摄像机的移动。
One of the hallmarks of Kurosawa's style are his fluid camera moves...
黑泽明的标志风格之一是他流畅的镜头移动……
That go from close-up to full shot to an OTS in a single unbroken take.
他能够在一次长镜头中，从特写过渡到全景，再到过肩镜头。
I did another essay about these shots, called the Spielberg Oner, but what's important here is that every camera move has a clear beginning, middle, and end.
我制作了另一篇关于这些镜头的视频，名为《斯皮尔伯格式一镜到底》，但这个视频的重点在于，每一个镜头的移动都有明确的开始、过程和结束。
Just by itself, this camera move tells a story.
镜头运动本身，就讲述了一个故事。
And last, there's movement of the cut.
最后，是镜头的切换。
Kurosawa is one of the few directors who worked as his own editor.
黑泽明是为数不多的自己担任剪辑师的导演之一。
One of the reasons his movies just flow is that he tends to cut on movement.
他的电影流畅的原因之一是他倾向于在角色移动处剪辑。
Often, you're paying so much attention to someone who's moving...
通常，你会把大部分注意力放在一个正在移动的人身上……
That you don't see the edit.
因此注意不到镜头的剪辑。
When he finishes the scene, he switches the rhythm, usually by ending on something static...
他拍完一幕时会转换画面的节奏，通常是以静态的镜头结束……
And then cutting straight into movement.
然后直接切入动态画面。
By switching up the rhythm, he keeps you on your toes, because you can't guess the next cut.
黑泽明通过改变节奏让观众保持注意力，因为你猜不到下一个镜头的内容。
