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Hi, my name is Tony and this is Every Frame a Painting, where I analyze film form.
大家好，我是托尼，这里是电影艺术评价，一个分析电影形式的频道。
Today's movie is The Imposter, from 2012, directed by Bart Layton.
今天要讲的电影是2012年由巴特·莱顿执导的《冒充者》。
If you haven't seen it, please read nothing more.
如果你还没有看过这部电影，赶紧关掉视频。
Don't even look up what genre this thing is.
不要去查这部电影的类型。
Just close this video, browse over to Netflix and watch it, because I am gonna spoil everything.
你要做的就是关掉这个视频，打开网飞然后看电影，因为这个视频含有严重剧透。
-You have 5 seconds to terminate this tape.
-你有5秒钟的时间关掉这段视频。
Ready?
准备好了吗?
-5, 4, 3, 2.
-5、4、3、2。
Let's dig in.
让我们开始吧。
I think Bart Layton made one of the smartest, simplest decisions I've ever seen for a doc and it's this:
我认为巴特·莱顿用一种我见过的最高明、最简单的方法拍摄了这部纪录电影，它是这样的：
Every subject in this story is shot in a normal interview style, looking off frame at someone else.
故事以正常的采访风格进行拍摄，所有角色都看向画面外的某人。
Except for our bad guy...
除了我们的反派主角……
-From as long as I remember, I wanted to be someone else...
-从我记事起，我就想成为另一个人……
Who looks right at us.
他直视我们。
That's it.
就是这样。
Dead simple.
非常简单的技巧。
See, the movies have always had a fascination with bad guys, and we've always had this way of looking them right in the eye, whether they be gangsters, cannibals, sociopaths, psychos, japanese girls or Leonardo DiCaprio.
电影总是在塑造迷人的反派角色，我们总能这样直视他们的眼睛，无论是黑帮、食人魔、反社会者、精神病人、日本女孩还是莱昂纳多·迪卡普里奥。
And I love it when a detective story or a thriller plays moments into the lens.
我喜欢侦探片或惊悚片中人物直视镜头的情节。
Jonathan Demme does this a lot in Silence of the Lambs, which is all about getting you...
乔纳森·戴米在《沉默的羔羊》中经常这样做，这一切都是为了让你……
-Closer...
-再近一点。
... into her headspace.
……进入她的视角。
Just the little things, like the experience of being shorter and female in a room like this.
包括电影中的一些小细节，比如在这样一个房间里，作为一个相比起来较矮的女性，会有怎样的体验。
-Go on now.
-现在开始吧。
Or here's a scene from Zodiac.
下面是《十二宫》中的一个场景。
This is the first interview with our prime suspect.
这是第一次对头号嫌疑人进行询问。
All three of the detectives are trying to figure out: is this guy the killer?
三名警探都想知道：这个人是不是凶手？
And when he says something suspicious, look at the shots Fincher cuts to.
当嫌疑人的话出现疑点时，看看大卫·芬奇切入镜头的方式。
-Well, we'll be checking in on that.
-好的，我们会对此进行调查。
-Were you ever in Southern California?
-你去过南加州吗？
And the climax of the scene is this:
这一幕的高潮部分是这样的：
I'm not the Zodiac.
-我不是十二宫杀手。
-And if I was, I certainly wouldn't tell you.
-就算我是，我肯定也不会说实话。
So the movie's asking you to judge: what do you think about this guy?
这部电影想让你来评判：你觉得这个人是凶手吗？
But in fiction films, it's really hard to sustain a whole movie with someone looking into the lens the entire time.
但在剧情片中，很难让一个人在一整部电影里一直盯着镜头看。
It's just too much.
这太夸张了。
-Yeah.
-是的。
But if you go to documentaries...
但如果是纪录片……
-Introduce the sentence, because I know exactly what I wanted to say.
-引用这句话，因为我很清楚我想说什么。
- Go ahead!
-继续！
- Ok.
-好的。
You'll run into Errol Morris, who does it all the time.
你会看到埃罗尔·莫里斯一直在这样做。
For him, the goal is to achieve the first-person, the sense that you're really in the room with these people talking to them.
他拍摄的目标是实现“第一人称”，让你感觉自己真的就在房间里与这些人交谈。
And when they explain themselves, they don't break eye contact with you, so it makes it easier for you to empathize with them.
为自己辩解时，他们不会移开目光，让你更容易与他们产生共鸣。
So that's the camera setup for The Imposter.
这就是《冒充者》中的摄像机设置。
This angle puts us in the same room as the bad guy, judging him.
这个角度就好像把我们和坏人放在同一个房间里，让我们去评判他。
But the same angle also makes us really susceptible to how persuasive he is.
但这个角度也让我们很容易被他的话语所诱惑。
In other words,we know he's the bad guy, but that doesn't protect us.
换句话说，我们知道他是坏人，但那无济于事。
