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-Okay Max now this is it.
-好了，麦克斯，就是这里了。
-Left or right?
-左还是右？
-Um...
-呃……
-Um...
-呃……
-Come on Max!
-快点，麦克斯！
-Left!
-左！
Hi, my name is Tony and this is a quick Every Frame a Painting.
大家好，我是托尼，这是一期简短的电影艺术评价。
Be warned, this video spoils all of Snowpiercer.
警告，本视频将出现《雪国列车》的严重剧透。
So I am giving you a choice.
所以给你一个选择。
Beyond this point in the video...
过了这一刻就……
-There's no turning back.
-无法回头了。
-There is no turning back.
-无法回头了。
-There's no turning back.
-无法回头了。
-There is no turning back.
-无法回头了。
-There is no turning back.
-无法回头了。
-And there's no turning back you understand?
-无法回头了，你明白吗？
-Yes I do.
-是的，我明白。
In nearly every blockbuster you watch or Telltale game that you've played, you've seen moments like this.
几乎你看过所有大片或是T社制作的游戏里，都会出现这种情况。
The protagonist has to make a choice, and there's no way to reverse it.
主人公必须做出选择，而且是无法逆转的选择。
-Okay it's you.
-好吧，就是你了。
Just to be clear, I think moments like these are great and a foundation of good storytelling.
先声明，我认为这样的时刻很棒，这也是讲好故事的基础。
But I do wish in movies they weren't presented through dialogue.
但我十分希望这种时刻在电影中不要通过对话的方式来呈现。
So today I look at one possible alternative.
因此今天，我提供了一种替代方案。
In fact, this is one of the oldest traditions in cinema.
事实上，这是电影的传统技巧之一。
How do you show character choice?
如何展现角色的抉择？
Left or Right.
左还是右。
That's it.
就这么简单。
We often forget that screen direction is a tool, and that character choices can be presented simply by having them look.
我们经常忘记，画面的方向性也是一种工具，角色目光的落点就能体现出他的选择。
Snowpiercer depends on one simple rule: camera left is the back of the train, while camera right is the front.
《雪国列车》里镜头设定的规则很简单：镜头的左边就是火车的后车厢，右边就是前车厢。
And we gradually move from left to right.
过程中我们慢慢的从左往右移动。
In fact, you could see this film as the story of a man who thinks he has to keep pushing forward.
事实上，你可以把这部电影看作是一个主角认为自己必须不断前进的故事。
And yet everything that anchors him and gives him his humanity is behind him.
而所有推进他前进并赋予他人性的东西就在他身后。
-You have to lead us.
-你必须带领我们。
Each decision he faces seems to be a simple variation on these two directions, but the film doesn't make it easy for him and sometimes he goes backwards.
主角面临的每个抉择似乎都是两个方向的简单变化，但这部电影并不是简单的一路向前，有时他会走回头路。
-Curtis, my friend, we understand each other, listen to my words, it wasn't me!
-柯蒂斯，我的朋友，我们相互理解，听我说，不是我干的！
When he finally reaches the end of his journey, Curtis is pushed by yet another person to go forward.
当柯蒂斯最终到达旅程的终点时，他又被另一个人往前推了一把。
-I have devoted my entire life to this, the eternal engine.
-我把我的一生都献给了它，永动引擎。
And to see the humanity behind him as something lesser.
为的就是让他看看身后人类的肤浅。
-You can save them from themselves.
-你可以将他们从自身中拯救出来。
And given one final choice between right and above or left and below.
并让他在右上和左下两个方向做出最终的选择。
He chooses this.
他的选择是……
The best part of this is that Bong Joon-ho has shown the moral progression of his choices without ever needing dialogue.
奉俊昊的这部电影最优秀的一点是，他在不使用对话的情况下，展示了主角的选择和他在道德上成长。
Snowpiercer is probably the most lateral film you'll see this year.
《雪国列车》可能是今年最“侧面”的电影。
And it's proof that the simplest visual ideas contain a lot of grace and subtlety.
它证明了最简单的视觉理念可以如此优雅且精致。
So the next time your character runs into a complex choice...
所以下一次，在你的角色遇到复杂的选择时……
Who knows?
谁知道呢？
Maybe it's actually a simple matter of left or right.
也许只是一个简单的“左还是右”的问题。
