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Another person who uses it a lot is Wes Anderson because it conveys that kinda dollhouse, flat storybook look he loves.
另一个经常使用横移镜头的人是韦斯·安德森，因为它展现了安德森喜欢的那种玩偶之家、平面故事书的感觉。
It's also kinda inherently funny when you have bright colors and people moving in straight lines like this, it's kinda weird.
如果画面色彩鲜艳，人们像这样直线移动时，就带着一种莫名的搞笑。
But the one thing I rarely see the lateral tracking shot used for is intimacy.
但我很少看到有人用横移镜头来制造亲密感。
It's not really an intimate shot.
这不是一个亲密的镜头。
No matter what you always seem to end up at a distance from the characters and even the greatest filmmakers know this.
无论如何，你似乎总是与角色保持一段距离，即使是最伟大的电影制作人也知道这一点。
So how can you make this shot which isn't really intimate...
那么，怎么能让这个没什么亲密感的镜头……
Intimate.
更亲密一些。
-Did you get my flowers?
-你收到我的花了吗？
Here's one way by Martin Scorsese.
马丁·斯科塞斯提供了一个方案。
-you didn't get them, I sent them... some flowers…
-你没有收到，我送了……一些花……
Track away from the character.
让镜头逐渐远离角色。
-Can I call you again?
-我可以再打给你吗？
It's weird because it's unmotivated and it's the opposite of what you're taught to do but it really works.
这很奇怪，因为它动机不明，而且与你学到的东西正相反，但它真的有用。
It feels empty and sad and lonely, and it makes you feel bad for Travis Bickle by removing him from your field of view.
它让你感觉空虚、悲伤和孤独，让你为特拉维斯·比克尔感到难过，因为他从你的视野中消失了。
-I tried several times to call her but after the first call, she wouldn't come to the phone any longer.
-我试着给她打了几次电话，但第一个电话之后，她再没接过我的电话。
Or here's another.
还有另一个例子。
This is widely considered one of the greatest shots in the history of cinema.
这个镜头被广泛认为是电影史上最伟大的镜头之一。
The fascinating thing about this shot is sheer length.
这个镜头最吸引人的地方在于它的长度。
It's nine minutes long of the main character trying to take this candle from one end to the other.
主人公拿着一根蜡烛从一头走到另一头，整个片段时长九分钟。
But since the shot has only one visual focus and one dramatic goal, Tarkovsky can let the moment unfold.
但由于这个截图只有一个视觉焦点和一个戏剧性的目标，塔可夫斯基可以让这一时刻充分展开。
We see every step the character takes, every failure, every retry.
我们看到角色迈出的每一步，每一次失败，每一次重试。
The shot's length puts you in a weird meditative trance.
这个镜头的长度让你陷入一种奇怪的冥想状态。
Because it's so simple you can read it as a symbol or metaphor for any struggle you could possibly want.
它的内容太过简单，你可以将其解读为任何有关你想要进行的斗争的象征或隐喻。
It's a real model of simplicity and purity and then there's this:
这是一个简单且纯粹的模型，还有这个：
I actually think this is the most emotional use of this camera move in the last five or ten years.
我实际上认为这是过去五年甚至十年来情绪展现得最好的横移镜头。
And to prove it, watch how the moment plays if I take out the track and just do a straight cut or a dissolve or a push in.
为了证明这一点，看看如果我不用横移镜头，而是直接剪辑、使用溶解效果或镜头推进会是什么效果。
This is a perfect example where the lateral move is exactly right.
这个例子完美地说明了横移镜头是个正确的选择。
Being further away from the characters makes this moment sadder because we can't help them.
离角色更远会让这一刻显得更加悲伤，因为我们无法帮助他们。
Moving left to right implies that time has passed and we can never go back.
从左向右移动意味着时间已经流逝，我们再也无法回到过去。
So all that brings us back to Wolf Children.
现在，让我们回到《狼的孩子雨与雪》。
Like a few shots on this list, it's actually a really intimate little piece.
就像展示过的几个镜头一样，这实际上是一个非常亲密的小片段。
It shows kids growing up right before your eyes.
它在你眼前展示了孩子们的成长。
But unlike every other shot on this list it's actually physically impossible.
但与其它镜头不同的是，这个片段在现实中是不能实现的。
This isn't a literal shot, it's figurative.
这不是真实的镜头，而只是一个意象。
It's really only possible through the magic of movies and specifically animation.
只有通过电影，特别是动画电影的魔力，才能做到这一点。
It moves back and forth through time and space and all it does is tell the story these kids growing up.
它在时间和空间中来回穿梭，讲述两个孩子成长的故事。
So even if you're like me and you don't really understand how to use a lateral tracking shot, it's great to see that someone out there clearly does get it and is pushing forward the visual grammar in some small concrete way.
所以，即使你和我一样，并不真正了解如何使用横移镜头，但看到有人能够清楚理解它，并以一些小而具体的方式推动视觉语法的发展，这是很棒的事情。
By the way, the rest of this film is really lovely and beautiful and will probably make you cry at the end.
顺便说一句，这部电影的其它部分真的很可爱也很漂亮，你很可能会在电影结束时被感动哭。
And call your mom right afterwards.
然后去给妈妈打电话。
So go watch it.
所以去看看吧。
Happy Mother's Day.
母亲节快乐。
