Like any great magic trick, the secret to Miyazaki's magic hides in plain sight.

就像任何偉大的魔術一樣，宮崎駿魔法的祕密隱藏在眾目睽睽之下。

In the case of "Spirited Away", in a simple moment such as this.

就《神隱少女》而言，在這樣一個簡單的場景。

Or this.

或者這個。

On the surface, moments like this where nothing happens might seem like filler,

從表面上看，像這樣什麼也沒有發生的時刻可能看起來像是充時間用的，

but the six-minute sequence of "Spirited Away" in which nothing really happens might best exemplify the secret to why the world of Miyazaki feels so spectacularly magical.

但《神隱少女》中什麼都沒有發生的六分鐘序列可能最好地說明了為什麼宮崎駿的世界感覺如此神奇的秘密。

The scene in question occurs 44 minutes into the film, the morning after our heroine, Chihiro, takes a job at a magical bathhouse for gods and spirits,

這個場景發生在影片 44 分鐘後，也就是我們的女主角千尋在一家神靈神奇澡堂工作後的第二天早上，

which happens to be owned by the same witch who turned Chihiro's parents into pigs.

這恰好是把千尋的父母變成豬的女巫所擁有的。

Here's how the scene starts.

場景是這樣開始的。

Meet me at the bridge. I'll take you to your parents.

在橋上見我。 我帶你去見你的父母。

Here's a question: What shot would you guess comes after this?

這裡有一個問題：你猜這之後會發生什麼鏡頭？

In most cases, it would look like this: cutting straight to the bridge where they had promised to meet.

在大多數情況下，它看起來像這樣：徑直走到他們約定見面的橋上。

But instead, Miyazaki does this: painstakingly showing Chihiro's journey from the bedroom all the way to the bridge, all locations that we've seen her pass the other way around.

但宮崎駿卻這麼做了：煞費苦心地展示了千尋從臥室一直到橋的旅程，我們看到她從相反的方向經過的所有地點。

This is why Miyazaki's world feels so real.

這就是宮崎駿筆下的世界如此真實的原因。

Because as magical as it is, there is a sense of space portrayed through time, distance, and scale.

因為它很神奇，透過時間、距離和尺度描繪出一種空間感。

That's why a quick moment that introduces a location like this is so simple, yet genius.

這就是為什麼一個簡短的瞬間介紹這樣一個地點是如此簡單，但卻很天才。

Because despite being a location we've never seen before, by the time Chihiro gets there, we know exactly where it is compared to the rest of the world.

因為儘管這是一個我們以前從未見過的地方，但當千尋到達那裡時，我們確切地知道它與世界其他地方相比的位置。

Going back to the story, this specific six-minute sequence is what's referred to as a pinch in a screenplay,

回到故事，這個特定的六分鐘序列就是所謂的劇本中的一個關鍵點，

a moment that occurs approximately three-eighths of the way into a script that gives the audience a moment to breathe and reminds them what's going on.

出現在劇本中大約八分之三的時刻，讓觀眾有喘息的時間並提醒他們正在發生的事情。

Like all the side characters that will later play a vital role in the story, and, most importantly, what's at stake.

就像所有後來在故事中扮演重要角色的配角一樣，最重要的是，什麼是利害攸關的。

The short interaction between Haku and Chihiro at the farm is full of these reminders of what's at stake.

白龍和千尋在農場的短暫互動充滿了這些對危險的提醒。

Like the fate of Chihiro's parents.

比如千尋父母的命運。

Mom! Dad!

媽媽！爸爸！

What's wrong with them?

他們怎麼了？

They don't remember being human. So look hard. It's up to you to remember which ones they are.

他們不記得自己是人類。 所以要認真看。 由你來記住它們是哪些。

Or Chihiro's own identity.

或是千尋自己的身份

Chihiro. That's my name, isn't it?

千尋。這是我的名字，對嗎？

That's how Yubaba controls you, by stealing your name.

這就是湯婆婆控制你的方法，盜用你的名字。

These reminders are Miyazaki's way of easily guiding the audience through the journey, letting them know exactly what has happened and also where it's heading.

這些提醒是宮崎駿的方式輕鬆引導觀眾完成旅程，讓他們知道發生了什麼事以及它的發展方向。

Which leads us to the moment that truly makes the scene magical.

這一刻這才是真正神奇的場景。

Miyazaki's films are famous for their culinary scenes, showing characters either cooking or eating in silence.

宮崎駿的電影以美食場景而聞名，畫面中的人物要麼在做飯，要麼在默默地吃飯。

It's never just a dining scene, but rather a moment when characters bond with one another and also a moment that Miyazaki refers to as "ma," meaning emptiness in Japanese.

這絕非僅僅是一個用餐場景，而是人物之間相互聯繫的時刻，也是宮崎駿稱之為「間」的時刻。，在日語中意為空。

In one of his interviews, Miyazaki describes it as the time between a clap, explaining:

在一次採訪中，宮崎駿將其描述為鼓掌之間的時間，並解釋：

"If you just have nonstop action with no breathing space at all, it's just busyness.

「如果你只是不停地行動，根本沒有喘息的空間，那就只是忙碌。

But if you take a moment, then the tension building in the film can grow into a wider dimension."

但如果你花點時間，那麼電影中的緊張氣氛就會發展到更廣泛的層面。”

You can actually find these instances of ma in all of Miyazaki's films.

事實上，你可以在宮崎駿的所有電影中找到這些「間」的實例。

A moment when time just seems to stop.

這一刻，時間彷彿停止了。

Nothing really happens, yet you feel yourself absorbed by its world.

什麼都沒發生但你卻感覺自己被它的世界所吸引。

Sometimes it's just watching someone eat a rice ball in tears.

有時只是看著別人流淚吃飯糰。

In a sense, this entire six-minute sequence is a perfect example of Miyazaki's ma.

從某種意義上說，這整整六分鐘的序列是宮崎駿作品的完美典範。

Nothing really happens.

什麼都沒發生。

It's just six minutes of a world we'd already seen, reminding us of the story we already know, watching things that happen that have no real consequences.

這個世界我們已經見過了，只有短短的六分鐘，提醒我們已經知道的故事，看著那些沒有實際後果的事情發生。

Yet it's these moments that make the films of Miyazaki so magical.

然而，正是這些時刻讓宮崎駿的電影如此神奇。

As exciting as its final reveal is, what makes a magic trick so special is the anticipation that precedes it.

儘管最終揭曉的結果令人興奮，魔術的特別之處是它之前的期待。