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I can't talk about how he pulled off so many different characters because I have no idea.
我无法说明他是如何塑造出这么多不同的角色的，因为我不知道他是怎么做到的。
But I can talk about a few things that directors did to help his performances.
但我可以讲一讲导演为帮助他呈现最佳的表演都做了些什么。
Here are five.
一共有五点。
No.1: They let him play it straight through.
第一点，他们让他不受干扰地表演。
Movie acting is weird because it's hours of preparation to shoot one angle.
电影表演是很奇怪的，为了拍摄一个角度，需要几个小时的准备时间。
And sometimes the actors only get a few seconds to really act.
有时演员们真正表演的时间只有几秒钟。
-My God, the children.
-天哪，孩子们。
Many of the directors here have a history of shooting scenes in 1 or 2 set-ups which helps the actors keep their rhythm.
许多导演都有过用一个或两个时间单元拍摄一整个场景，帮演员保持表演节奏的经历。
Some preferred elaborate camera moves.
有些导演喜欢精心设计镜头运动。
Others liked it very simple.
还有一些导演喜欢简单的镜头。
But no matter what, they shared a common desire to let all the actors perform uninterrupted, as much as possible.
但无论如何，他们都有一个共同的愿望，就是让所有的演员尽可能在不受干扰的情况下去表演。
-It's me, Alan, mom and dad!
-是我，艾伦，爸爸妈妈！
I'm home!
我回来了!
I'm back!
我回来了!
No.2: They gave him something physical to do.
第二点，他们让他做一些具体的动作。
Open the window.
打开窗户。
Pick up the apple.
把苹果捡起来。
Put the cans back in the right spot.
把罐头放回正确的位置。
-I said, well, you know what I'm dealing with here?
-我说，好吧，你知道我现在在这处理什么事情吗？
These gestures sometimes repeated later in the film giving us a nice before-and-after portrait of the character.
这些动作有时会在影片后段重复出现，做到角色动作的前后呼应。
-Eleanor?
-埃莉诺？
-Yes?
-怎么了？
Other times they were just one-off moments.
其余的就只是一次性的画面。
As an editor, I can testify that when I'm looking at 12 takes of a scene, these little gestures make all the difference.
作为一名剪辑师，我可以证明，我在看同一个场景的12个镜次时，能感受到动作上微小的差别带来的巨大差异。
No.3: They used blocking to tell the story visually.
第三点，他们用走位来使故事影像化。
Human beings are wired to respond to subtle changes in body language.
人会本能地对肢体语言的细微变化做出反应。
We often derive more understanding from a person's movements and tone than from the actual words they say.
我们从一个人的动作和语气中得到的信息，往往比从他们实际说的话中得到的信息要多。
-You forget the girl.
-你忘了那个女孩.
One of the great things about good blocking is that it's universal and doesn't need to be translated or explained.
走位最大的好处之一是，它简单易懂，不需要翻译或解释。
-you playing Dear Abby.
-你扮演亲爱的艾比。
-I know, because she's my sister!
-我知道，因为她是我妹妹！
Even if you can't speak English, you understand exactly what's happening here.
即使你不会说英语，也能完全明白到底发生了什么。
-Come on!
-别闹了！
-I don't like you, sir.
-我不喜欢你，先生。
-Why not?
-为什么呢？
-I got a great personality, you ask anybody.
-我性格很好，大家都知道。
No.4: They let him listen.
第四点，他们让他聆听。
-That started with Peter Weir where he said, if you just listen there's a great power in that.
-这是从和彼得·韦尔合作开始的，他说，聆听本身就具有一种强大的力量。
A good percentage what you think of as acting in a movie is actually people listening.
你认为的电影中的表演其实很大一部分是演员在聆听。
Sometimes that's what happened in the moment.
有时候，那是当下发生的事情。
Other times, we editors find those moments and move them around in the edit.
还有些时候，我们这些剪辑师会找到那些时刻，并在剪辑过程中移动它们。
As they say, acting is reacting.
就像人们说的，表演就是反应。
And lastly: They didn't let perfection get in the way of inspiration.
最后一点：导演们不会为了保证完美的拍摄而阻碍灵感的诞生。
There's a real desire sometimes to film it exactly the way it was in your head or on the page, but working with Robin Williams was about opening yourself up to sudden bursts of inspiration.
有时，导演会非常想把电影按照脑海中或剧本上的那样原封不动拍摄下来，但与罗宾·威廉姆斯合作，你必须敞开心扉，允许灵感的迸发。
-She used to fart in her sleep.
-她以前睡觉的时候经常放屁。
-One night it was so loud, it woke the dog up.
-有一天晚上屁声太大了，把狗吵醒了。
So be open.
所以保持开放。
This was the man who improvised many of his most iconic moments.
罗宾·威廉姆斯很多最具标志性的时刻都是他的即兴创作。
Maybe he was onto something.
也许他是领悟到了什么。
-There's great moments that obviously people have rehearsed and gone over and gone over and gone over, but literally when the stuff really hits you it's usually something that happened and it happened then and that is what film is about: capturing a moment.
-那些经典的时刻，是人们不断地重复再重复，一遍又一遍排演的结果，但有什么东西真的击中你心灵的时候，它自然而然就发生了，而这就是电影的意义：捕捉那个出现的当下。
Farewell, Robin Williams.
再见，罗宾·威廉姆斯。
-He is an editor's nightmare though, I mean editors see him and they go "AGH!"
-他是剪辑师的噩梦，剪辑师们看到他就会：“啊！”
Because he comes in, he shows up, you cut on him all the time, you can't cut on half a phrase...
因为他出现的时候，你要一直剪他的镜头，你不能突然剪到一半……
-Like it's hard to get a two-shot right now right?
-就像现在这样很难拍双人特写镜头一样？
-Dammit I can't hold it!
-该死的，我不行了！
-Dammit Jim, the camera's too wide!
-该死的吉姆，摄像机镜头太宽了！
-Bones, go wide!
-博恩斯，用广角拍！
-I'll be back.
-我会回来的.
-We love you.
-我们爱你。
