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When I rewatch his work, these little things are the ones I'm most impressed by.
当我重温成龙的作品时，这些小细节给我留下了很深的印象。
He doesn't need to do them, and they eat into his budget.
他本不需要做这些，而且这会占用他的预算。
But he still does them because he wants to.
但成龙还是这样做了，因为他想这样做。
And it's that "going above and beyond" that I respect and admire.
我尊重和钦佩的正是这种“精益求精”的精神。
-But in America, they don't allow you to do that.
-但在美国，他们不允许你这样做。
-You know, because money, just pooh pooh pooh pooh.
-你知道，因为钱就这样哗啦啦流走了。
And his American work is missing something else:
他在美国拍摄的作品还缺失了其他一些东西：
-And there's a rhythm also, into the way that the shots are performed and also the way they're edited, and Jackie said something very interesting that, you know, the audience don't know the rhythm's there until it's NOT there.
-还有节奏，镜头拍摄的节奏和剪辑的节奏，成龙说过一句话很有意思，观众直到节奏消失后才发现它的存在。
Jackie's fight scenes have a distinct musical rhythm, a timing he works out on set with the performers.
成龙的打戏有独特的音乐性节奏，这是他在片场与同台的表演者一起设定的。
-Ready, action.
-准备，开始。
Stay where you are!
就在原地!
Stay where you are, don't chase me.
就保持在原地别动，别追着我动。
See?
看到了吗?
Everybody looks good.
这样就很好。
Even experienced martial artists have trouble with it.
即使是经验丰富的武术家也会遇到困难。
In his earliest films, you see him learning the timing from Yuan Heping and it's very much like Chinese opera.
在成龙早期的电影中，可以看到他学习袁和平把控动作戏节奏的痕迹，这种节奏的把控和中国的戏曲有异曲同工之妙。
But by the mid-1980s, working with his own stunt team, he had something totally unique.
但到了20世纪80年代中期，他与自己的特技团队合作，形成了自己对节奏的独特理解。
In America, many directors and editors don't understand this timing.
在美国，许多导演和剪辑师不理解这种节奏。
And they ruin it by cutting on every single hit.
他们随意剪辑画面，毁掉动作的节奏感。
But in Hong Kong, directors hold their shots long enough for the audience to feel the rhythm.
但在香港，导演们使用长镜头拍摄，让观众感受影片中的节奏。
-The most important part is the editing.
-剪辑师是最重要的。
-Most directors, they don't know how to edit.
-大多数导演，他们不知道如何剪辑。
-Even the stunt coordinators, they don't know how to edit.
-即使是特技协调员也不懂。
Hong Kong directors like Jackie and Sammo cut a particular way.
像成龙和洪金宝这样的香港导演有着特别的拍摄风格。
In the first shot, you hit your opponent in the wide.
第一个镜头利用了广角镜头，显示你击中了对手。
In the second shot, you get a nice close-up.
第二个镜头切到了特写。
But when you cut the shots together, you don't match continuity.
但把这两个镜头剪到一起，就显得不连贯。
At the end of shot 1, the elbow is here.
在第一个镜头的末尾，肘部在这里。
At the beginning of shot 2, it's all the way back here.
在第二个镜头的开头，肘部又回到了稍远的地方。
These 3 frames are for the audience's eyes to register the new shot.
这三个画面是为了让观众为下一个镜头做好准备。
And they make all the difference.
这就造成了巨大的差别。
-I start from here, then here, but two shots combined. That's power.
-我先这样做，然后再这样，但两个画面剪在一起，就显得很有力量。
In other words, show it TWICE and the audience's mind will make it one hit that's stronger.
换句话说，把同一个画面展示两次，这两次相同的攻击会在观众心中合二为一，并且更加有力。
By contrast, modern American editing doesn't show the hit at all.
相比之下，现代的美国电影根本不会把打戏剪进去。
At the end of shot 1, the leg is here.
在镜头1的末尾，腿在这里。
At the beginning of shot 2, it's in the same place, going backwards.
在镜头2的开始，它在相同的位置，已经准备要收回去了。
But because they cut at the exact frame of the hit it doesn't feel like a hit.
但因为他们精准地在打击的那一帧上进行了剪辑，所以看起来完全不像那么回事。
A lot of people think this is because of the PG-13 rating but even R-rated films do this now
很多人认为原因是这部电影分级为PG-13，但现在的R级电影也是这样。
It looks like a bunch of people flailing around instead of a bunch of people getting hurt.
看起来像是群魔乱舞，而不是迎头痛击。
Ouch.
很痛。
Which brings us to number 8: pain.
这就让我们来到了第八点：伤痛。
Unlike a lot of action stars, who try to look invincible Jackie gets hurt.
与许多看起来天下无敌的动作明星不同，成龙会受伤。
A lot.
受很多伤。
Half the fun of his work is that not only are the stunts impressive.
成龙的作品不仅有令人印象深刻的特技。
There's always room for a joke.
还有一半的乐趣在于，他为笑料留出了足够的空间。
Pain humanizes him.
痛苦使他变得更加人性化。
Because no matter how skilled he is...
因为无论他能力有多强……
He still gets smacked in the face.
都有可能被当头一击。
In fact, Jackie's face may actually be his greatest asset, many times the look he gives is all it takes to sell a joke.
事实上，成龙的脸可能是他最大的财富，很多时候，他的表情就是个大笑料。
Like when he does an entire fight holding a chicken.
例如拿着一只鸡打一整场架。
Or dressed as Chun-li.
或者打扮成春丽。
And last, Jackie's style always ends with a real payoff for the audience.
最后一点，成龙的电影总能在结尾让观众得到真正的回报。
By fighting his way from the bottom, he earns the right to a spectacular finish.
他从底层奋力拼搏，最终大获全胜。
He doesn't win cause hes a better fighter, he wins because he doesn't give up.
他取得胜利不是因为他更会打架，而是因为他永不放弃。
This relentlessness makes his finales really impressive and really funny.
这种不屈不挠的精神让人们对电影的结局印象深刻，并且觉得十分有趣。
And it's in direct contrast to a lot of his American work where bad guys are defeated because someone shoots them
这与他在美国的许多作品形成了鲜明的对比，在美国的电影里，坏人被打败了是因为有人拿炮轰他。
COME ON.
得了吧！
But most of all, I think Jackie's style proves something: action and comedy aren't that different.
但最重要的是，我认为成龙的电影风格证明了一些东西：动作和喜剧并没有那么大的不同。
In both genres, we want to see our best performers, and I think a lot of modern action directors are failing completely.
动作片和喜剧片里都存在杰出的表演者，但我认为现代的大部分动作片导演都十分失败。
These actors are skilled artists, some of the best in the world.
这些演员都是技艺高超的艺术家，有些是世界级的艺术家。
Why are the directors so unskilled?
但为什么导演们的技术如此生涩？
Why am I paying money to not see the action?
为什么我要花钱看一场没有动作的动作电影？
-Whatever you do, do the best you can because the film lives forever.
-无论你拍什么，都要竭尽全力，因为电影会一直一直流传下去。
-"No, because you know that day it was raining and the actor don't have time."
-“不行啊，那天下雨了，演员没时间。”
-I said, would you go to every theater to tell the audience?
-我说，你会去到每一家影院把这些事情告诉观众吗？
-No.
-不会。
-The audience sits in the theater: good movie, bad movie, that's all.
-观众只会坐到电影院里，这部电影很好，这部电影不好，仅此而已。
Exactly.
就是这样
This work will last.
电影会一直存在。
And on that note, I leave you with the greatest death scene in film history.
鉴于此，我要给你们看看电影史上最伟大的死亡场景。
