Hi, my name is Tony

好的，等會見，謝謝

and this is Every Frame a Painting.

嗨，我是Tony，這是幀影幀畫

Today's topic is the oner, AKA a long take.

今天討論的主題是"一鏡到底"，也稱之為"長鏡頭"

This is probably the most jerked-off-to type of shot in filmmaking.

這可能是最被捧上天的拍攝技巧了

But basically, all it means

簡單來說它的定義是

is doing an entire scene in a single, unbroken shot.

以不間斷及單一鏡頭拍攝而成的完整場景

And let's face it, it's pretty awesome.

不得不承認，這真的頗屌的

We all have our favorites.

我們都有各自的最愛

There's six dozen lists on the internet about this.

網路上列表出有用到這手法的電影至少有六打

But we tend to notice the ones that draw attention to themselves.

因為我們總被那些高調使用此手法的作品吸引

So let's skip all of these guys

所以今天我們跳過這些人

and go to one filmmaker who does oners all the time,

來討論這位也總是一鏡到底的導演

except his goal is to remain invisible.

不同的是，他目的卻是潛跡遁形

This dude.

這傢伙

Truthfully, Spielberg's takes aren't even that long.

老實說，史匹柏的一鏡到底時間都不長

He tends to keep them less than 3 minutes.

通常控制在三分鐘內

In fact, he really likes that one minute to two-minute zone,

事實上，他更喜歡維持在一到兩分鐘的區間

which is long enough to cover an entire scene,

既可顧到整個場景

but short enough to keep the pace brisk.

又可維持節奏輕快

And while other directors seem to have

其他導演似乎

a dominant formal technique to their long takes —

也各自擁有其常用的一鏡到底技巧

for instance, Wes Anderson likes to move laterally,

如 魏斯.安德森 喜愛橫移

the only thing that really defines a Spielberg oner

唯一能定義史匹柏一鏡到底風格的：

is that it's supposed to be invisible.

就是理應不被發現

So maybe I'm full of shit for even saying it exists.

所以我說它存在 聽起來可能像是在胡言亂語

Now, I'm gonna cut these shots down for this video,

為了配合解說，以下鏡頭我都有剪短

but if you want to see the full scenes,

但是如果你對於完整鏡頭有興趣

I've put them all in two separate videos linked below.

我將它們放在下面兩個不同的連結中

First off, a shot from Raiders of the Lost Ark.

首先，這是《法櫃奇兵》的場景

This is a single unbroken, 90-second take.

這是一個90秒的不間斷鏡頭

The great thing about it is that it's basically four different shots in one:

很高竿的地方在於它包含了四種拍攝手法

there's a push-in, two matching singles, and an insert.

有推進、兩個對應的單鏡，還有插入鏡頭

So Spielberg combines all four into a single moving master.

史匹柏用單一移動主鏡頭融合了四種技巧

It's really simple and elegant,

簡潔又優雅

and it probably saved a bunch of time on set.

而且說不定還幫拍攝省下不少時間

Also, it really works for the scene,

而且，它很適合這個場景

because there's suspense in the drinking contest.

因為這場喝酒比賽中有著懸疑性

And no matter how many times I watch it,

不管我重看多少次

I still forget the exact timing,

因為總是無法感覺到時間流逝

so it's always funny when this happens.

所以每次看到這裡時，我都覺得很好笑

Next up is a shot from Minority Report.

下一個是《關鍵報告》中的鏡頭

This time, they're on a steadicam.

這一次他運用了攝影機穩定器

But notice how the camera never moves unmotivated.

注意這裡鏡頭從來沒有無意義的移動

It's always following a motion or an action.

它總是緊隨著動作或行為

Hold that, please.

請等我一下

The pacing is fantastic,

節奏控制得非常好

you really get the sense that the scene is unfolding in front of you,

有著故事就在你眼前展開的感覺

rather than a cameraman hitting his marks.

而非單純攝影師側面拍攝而已

You're in a lot of trouble, John.

你麻煩大了，約翰

The blocking of the actors is really fluid

演員們的走位很流暢

and the shot goes from favoring one character...

然後鏡頭由賦予這位演員優勢

...to favoring another.

轉變為賦予另一位演員優勢

Seems I've found a flaw.

冷靜點，似乎我找到瑕疵了

Flashing back in time, this is Jaws.

回到過去，到《大白鯊》

The great thing about this one is how restrained it is.

這一段最棒的是由侷限產生出的效果

The cameraman barely moves.

攝影師幾乎沒有動過

All of the movement is in the blocking of the actors

所有的移動都是演員的走位，

and specially, the really smart choice of location.

和高明的拍攝地點選擇所產生

By shooting on a real ferry,

在渡船上拍攝

Spielberg can use the background action to keep the pace snappy.

史匹柏讓背景轉換保持節奏流動

One of the reasons I forgot how long this shot is

讓我忘卻這整個鏡頭時間很長的一個原因就是

is because the background keeps shifting

背景持續的移動

and you're always looking at something new.

你一直有新的東西可以觀看

You yell "shark",

你若是喊出 "鯊魚"

we've got a panic on our hands on the 4th of July.

今年國慶日就滿城人心惶惶

Next up, Saving Private Ryan.

下一個，《搶救雷恩大兵》

One of the hallmarks of a Spielberg oner

史匹柏招牌一鏡到底的特點之一

is that he tends to do almost all of his special FX or his vis FX in the master.

就是他總是將所有的特效 或是視覺技巧放在主鏡頭中

And this one's a doozy.

這一段很了不起

Explosions, rubble, dust, smoke, gunfire, squibs, and you know...

爆炸、

A tank.

瓦礫、

Good shit.

塵土、

Now, I do want to emphasize,

煙霧、

Spielberg did not invent this type of shot.

炮火、

In fact, it used to be a very common choice.

爆破、

How about you, handsome?

還有你知道的...

Haven't I seen you somewhere before?

一台坦克

In the 40s and 50s and 60s,

好傢伙

studio directors frequently employed

我還是要強調

a moderate-length oner to move the story along.

這種用鏡不是史匹柏發明的

How do you like this? I'm running outta alibis.

事實上，這技巧曾被大量使用

But really, beginning with Rope and Touch of Evil,

你呢，帥哥?

the oner became a calling card for directors.

我有在哪裡見過你嗎?

Audiences noticed it,

在40、50及60年代

film critics and students got raging hard-ons for it,

導演們經常使用

and for the last 50 years, it's been a game of one-upmanship.

適當長度的一鏡倒底技巧來推進故事

Yours is 3 minutes? Well mine's 17.

你覺得這樣如何? 我快要沒藉口了

Hitchcock did a movie seemingly in one take?

但真的，由《奪魂鎖》及《歷劫佳人》開始

Well we did it actually in one.

一鏡到底變的很浮濫

Now, I'm not saying that these long takes are bad.

觀眾注意到了

Most of them are fun as shit.

影評、學生導演們瘋狂的吹捧

All of them are a little awe-inspiring.

然後過去50年來，已經變的有點像是在競賽了

But there used to be a real type of shot in at least American cinema that was…

你的那段三分鐘? 我這段可有17分鐘

for lack of a better word, really robust.

希區考克拍了部看似是全片一鏡到底的電影?

Like, it didn't break down.

好，我們貨真價實整片一鏡到底

It worked, it got the job done.

我不是說這些一鏡到底不好

It was always interesting to watch.

它們大部分都有趣至極

It didn't call attention to itself.

但它們有點過於華麗

You know, you could rely on it.

但曾經，這種拍攝技巧..至少在美國影史中是

Now, it's split.

找不到更好的形容詞：很紮實

You got one branch of filmmaking

很實用、有效、達到目的

that is trying to go faster, shorter, more chaotic.

觀看起來總會覺得有趣

And another that is almost willfully doing the opposite.

但又不會喧賓奪主

Some people are still in the middle.

你知道，很可靠

Alfonso Cuarón comes to mind

如今，狀況變的很兩極

as someone trying to mine the long take for dramatic purposes.

有一派導演

But even Alfonso isn't trying to be invisible.

熱愛快節奏、短剪接、混亂感

Hell, even Spielberg sometimes wants you to notice.

另一派則是故意的朝反方向操作

This one from Minority Report

有些人還沒有選邊站

is practically a De Palma or Hitchcock shot.

艾方索.柯朗就是其中之一

This one from Duel is, I mean, it's almost like a slasher movie.

擅長置入一鏡到底手法達到戲劇化效果

This one from Always,

但就算是艾方索也沒想讓這手法完全隱形

which is a terrible movie,

就算史匹柏有時也希望博取注意

is done in sync with a 747.

這一個《關鍵報告》的鏡頭

And this is just insane.

基本上就是 狄帕瑪 或是 希區考克 經典角度

But otherwise, Spielberg plays it quiet.

這個《飛輪喋血》的鏡頭...

Which is weird to say, because you know, Spielberg.

幾乎是變態殺人狂電影的手法了

But compared to his peers,

這是《直到永遠》的

this technique, which he has been doing this for 40 years at this point,

一部很差勁的電影

makes him stand out all the more.

這鏡頭跟著這台747同步完成

Which car were you planning on?

還有，還有

Whichever one you are.

這個就太誇張了

So I guess that's maybe the closest I can get to defining a Spielberg oner.

除了這些，史匹柏其實是很低調的

It uses any and all possible tricks to remain invisible.

這樣說很奇怪因為...

So if you're a director

我們講的可是史匹柏

and you want to pull off a Spielberg oner,

但是跟他的同行比較起來

there's only a few simple rules to follow.

40年來不斷精進此拍攝手法

First, move your actors.

讓他更能脫穎而出

Move 'em around.

你...

Don't just have them stand there and talk

想坐哪一輛車?

like they're in a 2014 blockbuster.

跟你坐同一輛

Don't mind him.

所以我想的到最能定義史匹柏一鏡到底手法就是

- English humor? - Scottish whiskey.

它會盡可能的隱身匿跡

Second, follow that movement.

所以如果你是個導演

The camera doesn't have to follow on a leash,

你想要來一段史匹柏牌的一鏡到底

it can swing around, it can move counter to them,

有以下幾個簡單規則：

it can track laterally, whatever.

第一點，移動你的演員們

But watch the scene and place the camera accordingly.

多動動他們

Third, break down the shot

不要讓他們只呆站在原地對話

into multiple compositions and smaller angles.

跟那些2014年的賣座片一樣

You are essentially linking five or six different shots

別把他當一回事

into a single moving master.

英式幽默?

So you can think in terms of

蘇格蘭威士忌喝多了

single, over-the-shoulder, insert, wide.

第二點，緊隨著動態

It all flows together.

鏡頭不一定只能直線前進

Ah, Frank.

它可以擺動鏡頭

Oh, and if you can accomplish all this

它可以反方向進行

without even moving the camera?

它可以軌道橫移，都可以

Even better.

但請配合場景擺放鏡頭

All of you?

第三點，將場景拆解成

Fourth, do your vis FX or special FX,

多種成份及各種小角度

anything you need to keep the "magic" alive,

你可以將五或六個獨立鏡頭

do it in the wide shot.

連結成單一的移動主鏡頭

Don't cheat and construct your elements

所以你可以理解成將

out of close-ups and cutaways,

固定、跟隨、插入、全景等鏡頭

put 'em in the wide shot and let the actors interact with them.

匯流整合在一起

And don't fucking green screen shit that should be practical

阿，法蘭克

The audience can tell

如果你可以不移攝影機就完成拍攝

when an actor is reacting to something that's there

更厲害

versus something that isn't.

你們全部?

Fifth, if you need to, shoot a cutaway.

第四點，如果有使用視覺效果或特效

All of the shots in this video are completely unbroken takes,

或是任何想讓視覺魔術效果如靈活現時

but Spielberg isn't stupid.

使用全景

He often shoots an insert or a cutaway for a oner

不要拼湊特寫或是旁跳鏡頭來作弊走捷徑

even if he's sure they nailed it.

擺在全景裡，讓演員和它們互動

This gives him the ability to tighten in editing if he needs to,

他媽別在用道具就可達到效果的地方使用綠幕

or perhaps use the beginning of one take

演員是否真的與人或物互動，觀眾是看得出來的

and the end of another.

第五點，如果狀況需要，使用旁跳鏡頭

It also helps if he needs someone

所有這個場景的鏡頭都沒有間斷

to hit a particularly difficult mark,

但是史匹柏可不笨

like making a gun land in the right spot.

就算是原本一鏡到底已經達到效果

...cautious fellow I am.

他還是常常加入插入鏡頭或旁跳鏡頭

And last, keep it short.

這容許他在剪接時，更能擁有縮緊的空間

Don't outstay your welcome.

或是可以由一鏡到底鏡頭

The Spielberg oner is designed to get through scenes quickly

藉此銜接到另一個

and keep the pace up.

如果他需要演員

You should not be spending an entire day

完成難度高的動作時也很有幫助

trying to get it perfect.

比如，讓這把槍落在完美的地方

That's for shit like this.

我是個很小心的人

So in conclusion,

最後一點，簡潔有力

I understand that there's sometimes a lot of backlash

見好就收

with regards to talking about Spielberg as a serious artist.

史匹柏的一鏡到底的功能是進行快速場景轉換

I mean, sometimes the sentimental stuff is a little hard to swallow.

並且保持節奏

I'm not gonna talk about his legacy,

你不應該花一整天

but I do think he should be celebrated for his oners.

硬要拍出完美的鏡頭

Especially considering it's a technique

這種電影才需要這樣搞

generally abandoned by mainstream directors

所以，結論是

for either this kinda incomprehensible bullshit

我理解這種話題可能會引起爭論；

or this really good, but also really noticeable style.

因為我們以嚴肅、藝術的角度來討論史匹柏

Ironically, this dude,

我是說，太煽情的作品有時還真的難以下嚥

who was once considered responsible for destroying 70's Hollywood filmmaking,

這裡不是在評論他的歷史地位

is probably the greatest living practitioner

但是我覺得他的一鏡到底值得被傳頌

of a classic Hollywood tradition.

特別是這種用鏡技巧

I wonder if he feels sad about that.

常被主流導演們捨棄不用

Fuck that, he's rich!

取而代之的，不是

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