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And lastly, he never moves the camera if he can help it.
最后一点，如果可以的话，芬奇绝不会移动相机。
-I wanted to present, in as wide a frame, and in as unloaded a situation as possible, as much of a kinda simple proscenium way, this is what’s going on, this is what this guy sees.
-我想尽可能利用广角镜头，在信息尽可能多的情况下，以一种简单的方式展现：这就是正在发生的事情，这就是这个人看到的东西。
-You don't pay attention.
-你没在专心。
-What is this?
-这是怎么回事？
So consider all these restrictions he gives himself.
因此，考虑一下他给自己设定的所有这些限制。
No handheld, no human operating, no unnecessary close-ups, no unmotivated camera moves.
不使用手持设备，消除人为操控感，不切不必要的特写镜头，不随意移动摄影设备。
Now let’s give him a scene of just people talking.
现在，让我们给他一个只有对话的场景。
Can he make it cinematic?
他能让这个场景具有电影感吗？
-Killer put a bucket beneath him, kept on serving.
-凶手在他下方放了一个水桶，一直喂食。
-Coroner said this could have gone on for more than 12 hours.
-验尸官说这原本会持续超过12个小时。
Oh yeah.
没错。
Talking isn’t cinematic but drama is.
谈话不具有电影感，但剧情有。
This scene is about three people, one standing, two sitting.
这一幕一共有三个角色，其中一个人站着，两个人坐着。
The first thing Fincher does is bring us over here to listen to these two.
芬奇做的第一件事是将我们带入这个场景，听其中这两个人对话。
Just from shot sizes we can tell this is more important to Somerset than to the chief, but neither will budge.
仅从景别我们就可以看出，相对于警长来说，这件事对警探沙摩塞更重要，但两人都不妥协。
When the detective tries to drop the case...
当警探想要放下这个案子的时候……
-I’d like to be reassigned.
-我想被派到别的案子。
We shift to a different angle of the chief and of Somerset.
拍摄警长和沙摩塞的角度出现了变化。
This is our clue that Mills is trying to work his way in.
这是一个线索，提醒我们密尔斯正想办法加入对话。
But Somerset, who’s looking nowhere near the eyeline, ignores him.
但沙摩塞没有注意到他的视线，对他视而不见。
When the younger detective cuts in:
当年轻的警探终于插上话时：
-Hey man, you know, I'm right here, you can say that shit to my face.
-嘿，伙计，我就在这儿，你有什么屁话可以当面对我说。
We go back to this angle, with Somerset finally facing him.
我们又切回到这个角度，沙摩塞终于开始面对密尔斯。
This puts the chief in a tough spot, and he has to put his foot down.
这让警长陷入了困境，他必须采取坚定的立场。
-Give it to me.
-把这个案子给我。
-No I’m putting you on something else.
-不，我给你安排了别的事。
This is the only close-up of the chief in this scene and Fincher saves it for the moment Mills gets totally dismissed.
这是这一幕中警长唯一一个特写，芬奇把它留到了米尔斯彻底被打发走的时候。
So even without sound, you understand the purpose of this scene.
所以，即使没有声音，你也明白这个场景的目的。
Fincher has taken your eyes and brought them here to see this drama, here to see this one, and then here for the final shutdown.
芬奇引导你来看两个人的对话，然后转换角度看另一段故事，最后再转换角度看这段剧情的结尾。
Three characters, three relationships, all staged for the camera to see.
三个角色，三段关系，都安排好，用摄像机进行拍摄。
-I'm sorry, old buddy.
-对不起，伙计。
The next time these characters are together, look how far away Mills is sitting.
在后面的剧情，这三个角色又出现在一幕中的时候，看看米尔斯坐得有多远。
But once Somerset starts to explain his theory:
但在沙摩塞开始解释他的观点时：
-Gluttony, greed.
-暴食，贪婪。
Fincher brings us over here to show them looking at each other in the same frame.
芬奇把我们带到米尔斯面前，展示他们在同一画面里的互相对视。
Even though they don’t work together for another 10 minutes, it’s here that they begin to respect each other.
尽管接下来的10分钟他们还没有开始合作，但正是在这里，他们开始相互尊重。
You can actually watch Se7en and see the progression of this relationship in any shot that has the two of them together, ending with this one.
事实上，在观看《七宗罪》时，这两个角色在一起的所有镜头都展现了两人关系的发展，最后，这段关系以这一镜头结束。
THAT is good directing.
这是很棒的导演技巧。
And as Fincher has gotten older, he’s actually gotten more subtle.
随着芬奇年龄的增长，他的拍摄手法变得越来越微妙。
For instance, now he’s really good at using emptiness in the frame.
例如，现在他十分擅长利用画面中的空白。
So he’ll cut to a chair with no one in it.
他会拍摄一张没有人坐的椅子。
-Eduardo was the president of the Harvard Investors Association and he was also my best friend.
-爱德华多之前是哈佛投资者协会的主席，也是我最好的朋友。
Or an empty space for an absent husband.
或者在镜头中给不在场的丈夫留些空间。
-That's too bad, we're gonna talk about this.
-这太糟糕了，我们要谈谈这件事。
-And when is it gonna be finished?
-而且这什么时候结束？
He’ll build an entire scene to a moment when someone looks into the lens, happy.
他会构建一个完整的场景，让人看着镜头，展现自己的开心。
-I'm very glad to be here, thank you for having me.
-我很高兴来到这里，感谢邀请。
Or terrified.
或恐惧。
-Take care of yourself, Sam.
-照顾好你自己，山姆。
And he'll show us the inside of someone's fridge.
他会带我们去看某人冰箱的内部。
It's true that Fincher has a reputation for being uncompromising, shooting 50 or 60 or 99 takes of a scene.
确实，芬奇以不妥协著称，一场戏能拍上50、60甚至99个镜次。
-Double rainbow?
-双重彩虹？
-Oh my God, what does it mean?
-天哪，这有什么寓意？
At the same time, it’s great to watch someone who’s actually good at their job.
同时，看着一个对自己的工作很在行的人其实是种享受。
Someone who can show the power relationship change with a single cut.
他用一次镜头转换就能显示出权力关系的变化。
-Kill the phones.
-把电话线切了。
Someone who’s willing to let this moment play in full...
他愿意充分利用这种细节……
Or just let us watch the characters walk from point A to point B.
或者只是让我们看着一个角色从A点走到B点。
Even if you don't like Fincher, this is some of the best craft in directing right now and it is absolutely worth studying.
即使你不喜欢芬奇，这是目前最优秀的导演技巧之一，绝对值得学习。
-I'm not the Zodiac, and if I was, I certainly wouldn't tell you.
-我不是十二宫杀手，如果我是，我肯定不会告诉你。
And if you do like him, here is what he thinks of you.
而如果你喜欢他，以下是他对你的看法。
-I think people are perverts.
-我觉得人都是变态。
-I've maintained that, that's been...
-我一直这么认为，这是……
-That's the foundation of my career.
-这是我职业生涯的基础。
