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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。
One thing I find interesting about filmmakers is that the more they direct, the more they can express themselves in the smallest details of a scene.
关于电影制作人，我觉得有趣的一点是，他们导演的作品越多，就越会在电影最微小的细节中表达自己。
-What is it you want?
-你想要什么？
A lot of people think directors are distinguished by how they shoot the big set pieces, the crazy oners, the really stylish stuff.
很多人认为区分不同导演的风格要看他们如何拍摄大场面，疯狂的戏，或者极具个人风格的内容。
And yeah, these are the shots that get copied, and they do give you a strong indication of someone’s vision.
是的，这些后来被他人效仿的镜头，确实会让你强烈感受到那种与众不同的风格。
But sooner or later, every filmmaker goes back to scenes like this: Two people in a room talking.
但迟早，每个电影制作人都会回到这样的场景：两个人在一个房间里对话。
Just about the least cinematic thing there is.
这差不多是最不具电影感的事情了。
And it’s scenes like this that tell you what they really care about.
正是这样的场景能够告诉你导演真正关心的是什么。
-If I didn't need a medical officer, I would let you within light years of this operation.
-要不是我需要医务官，我连这个驻地几光年以内的范围都不会让你进来。
-I'm eternally grateful.
-我永远感激您。
-Keep your sarcasm to yourself.
-留着讽刺你自己吧。
And David Fincher?
而大卫·芬奇呢？
He cares about information.
他关心的是信息。
Unlike many filmmakers,who try to avoid exposition, sometimes Fincher does nothing but...
很多电影制作人不愿意过多透露信息，而芬奇不同，他会……
-The salt balance has to be just right, so the best fat for making soap comes from humans.
-盐的份量必须恰到好处，所以做肥皂最好的脂肪就是人体脂肪。
-Wait, what is this place?
-等等，这是什么地方？
-A liposuction clinic.
-抽脂诊所。
In his world, drama happens when a character learns a new piece of information.
在芬奇的世界里，故事是伴随着角色得到的新信息而发展的。
-Just down in the basement.
-就在地下室。
How does it fit with everything they already know?
这些信息与角色已知的信息有什么联系？
-Not many people have basements in California.
-在加州，没有几家人有地下室。
And how do they react to learning a little bit more of the truth?
以及他们了解了更多真相后有何反应？
-I do.
-我有。
Fincher’s style is an extension of this idea and it's interesting to hear him describe his process.
芬奇的风格是这一理念的延伸，他描述自己思考方式的内容也很有趣。
They know you can do anything, so the question is: What DON'T you do, not what do you do.
他们知道你什么都能做，所以问题不在于你做什么，而是你不做什么。
So, what does David Fincher NOT do?
那么，大卫·芬奇不做什么事呢？
For one thing, handheld.
首先，是不用手持设备。
Fincher is a locked-down put-it-on-a-tripod filmmaker.
芬奇是一位喜欢把机器“焊死”在三脚架上的导演。
He hates handheld and does it maybe once per film.
他不喜欢手持设备，每部电影可能只用一次。
Dragon Tattoo has two scenes, while Zodiac has one, and The Social Network has only this shot.
《龙纹身的女孩》有两场手持拍摄的戏，《十二宫杀手》有一场，而《社交网络》只有这一个镜头。
Se7en has the most handheld of any Fincher film: five scenes.
在芬奇所有的电影中，《七宗罪》是手持拍摄内容最多的：一共五个场景。
-Phone.
-电话。
-Phone.
-电话。
-Phone?
-电话?
-Phone?
-电话?
But even when he uses it, notice how he designs around it.
但即使当他使用手持拍摄，注意他是如何进行设计的。
The camerawork on the detectives is shaky, while John Doe, who has all the power in the scene, is shot on a tripod, rock-solid.
拍摄警探的镜头在不断摇晃，而场景中掌握主动权的这位无名氏的镜头是放在三脚架上拍摄的，画面十分稳定。
-WHAT'S IN THE BOOOOOX?
-盒子里面是什么？
-Not till you give me the gun.
-你先把枪给我.
-WHAT'S IN THE FUCKING BOX!
-盒子里他妈的是什么！
-Give me the gun.
-把枪给我
-He just told you.
-他刚刚告诉你了。
Another thing Fincher avoids is the sense of a human being operating the camera.
芬奇还会避免让镜头看起来有人为操纵的感觉。
At a time when many filmmakers are deliberately adding camera shake or mistakes to their shots to make it seem like there was a person there, Fincher is doing the opposite.
许多电影制作人会故意在拍摄时加入镜头抖动或无意义的镜头运动，让观众更具有临场感，芬奇则与之相反。
-I just love the idea of this omniscience. Like the camera, it just goes over here kind of perfectly, and it goes over there kinda perfectly and it doesn’t have any personality to it, it's very much like what’s happening was doomed to happen.
-我只是喜欢这种无所不知的感觉。就好像相机只是完美地移动到这里，然后完美地移动到那里，没有任何人为的控制，就像是在说，发生的这件事是注定要发生的。
Sometimes you can't tell whether a shot was human-controlled, motion-controlled or CGI.
有时你很难说清芬奇的某个镜头是人为控制的，由移动设备拍摄的，还是用电脑合成的。
The final effect is ominous, like something out of the Overlook Hotel.
最后的效果会产生一种不详的感觉，像是从《眺望旅馆》出来的东西。
He also doesn't cut to a close-up unless he needs to.
除非必要，芬奇也不会拍摄特写镜头。
Even though Fincher's close-ups and inserts are really distinctive, he rarely cuts in because...
芬奇的特写和嵌入镜头非常有特色，但他很少拍这些镜头，因为……
-Every time you go to a close-up...
-每次一到特写镜头……
-The audience knows: "Look at this, this is important."
-观众就明白了：“看这里，这里很重要。
-You have to be very, very cautious and careful about when you choose to do it.
-对特写镜头的使用，你必须非常、非常谨慎。
In any given scene, he’ll only go to the close-up for one or two moments.
芬奇拍摄的任何场景中，特写镜头都只会出现一两次。
And the more he’s directed, the less often he’s done it.
他导演的作品越多，特写镜头出现的次数就越少。
-You'd have made a great Secretary of State.
-如果你当国务卿，一定会做得很好。
These moments gain power precisely because he withholds the shot elsewhere.
这些时刻之所以有力，是因为他克制地将特写镜头用在了对的地方。
