Name: 同一個場景，兩種拍攝手法！(#1) (Two Ways To Film The Same Scene (#1))
Uploaded: 2026-01-14T17:30:37.000Z
Duration: 8 min 57 s

第二類條件句型

So if you wanted to see how filmmaking has changed over the years, ideally what you'd want is for two movies made decades apart to have the exact same scene.

所以，如果你想看看 moviemaking 這些年來的變化，最理想的情況就是有兩部相隔幾十年的電影，有著完全一樣的場景。

程度副詞

You'd want the first movie from, say, 1940, and the second almost 60 years later in 1998.

你希望第一部電影是大概 1940 年的，而第二部則是將近 60 年後，也就是 1998 年的。

情態副詞

Well, as luck would have it, that's exactly what we have right here.

嗯，真是巧，這就正是我們現在要呈現的。

On the left, Ernst Lubitsch's classic romantic comedy, the Shop around the Corner, starring Jimmy Stewart and Margaret Sullivan, and

左邊這部是 Ernst Lubitsch 經典的 romantic comedy，《街角小店》，由 Jimmy Stewart 和 Margaret Sullivan 主演，

on the right, Nora Ephron's 19801998 remake, you've got Mail, starring Tom Hanks and Meg Ryan.

而右邊這部則是 Nora Ephron 在 1998 年翻拍的，也就是《電子情書》，由 Tom Hanks 和 Meg Ryan 主演。

Actually, both of these movies were based on the 1937 Hungarian play Parfumerie, which was also made into a movie musical starring Judy Garland in 1949 and a Broadway musical in 1963.

事實上，這兩部電影都是改編自 1937 年的匈牙利舞臺劇《Parfumerie》，這部劇在 1949 年也被拍成了由 Judy Garland 主演的歌舞片，還有 1963 年的百老匯音樂劇。

The reason for this many adaptations is because the plot is perfect for romantic comedy.

之所以會有這麼多改編，是因為這個劇情非常適合 romantic comedy。

Two people become anonymous pen pals and gradually fall in love, but

兩個人成為匿名的 pen pals，然後漸漸愛上對方，但是

unbeknownst to them, they actually know each other in real life and don't get along at all.

他們不知道的是，其實他們在現實生活中認識，而且完全合不來。

On the day the pen pals finally agree to meet at a cafe, the man who gets there second sees through the window that his beloved is actually his real life antagonist and because of this, doesn't reveal his true identity.

在 pen pals 終於約好要在咖啡廳見面的那天，第二個到場的男人，透過窗戶看到他心儀的對象，竟然就是他現實生活中最討厭的人，是以他並沒有表明自己的真實身分。

This imbalance of knowledge makes for a marvelous scene of dramatic irony, creating a tension that is at once heart wrenching and hilarious.

這種認知上的不對等，造就了絕妙的 dramatic irony 場景，營造出一種既令人心碎又滑稽的張力。

Are you deliberately trying to spoil my evening?

All the film adaptations of the play have this scene, the cafe scene, and

這齣戲的所有電影改編都有這個場景，也就是咖啡廳場景，而且

they all play out in pretty much the same way.

它們的呈現方式幾乎都差不多。

How the versions differ is in the film language used to stage the scene.

版本不同之處在於用來呈現場景的 film language。

That language tells you something about the director's vision, but

那種 film language 會告訴你導演的視野，但

it also tells you something about the conventions of different eras of moviemaking.

它也會告訴你不同時代 moviemaking 的慣例。

Leaving aside the musical, let's compare the 1940 and 1998 versions.

先不談音樂劇，我們來比較 1940 年和 1998 年的版本。

And they are comparable as they cover the same beats and are roughly the same length.

它們是可以比較的，因為它們涵蓋了相同的節奏，而且長度也差不多。

The Shop around the Corner's cafe scene is 8 minutes and 19 seconds long.

《街角商店》的咖啡廳場景是 8 分 19 秒。

And you've got mail's cafe scene is 9 minutes and 43 seconds.

《電子情書》的咖啡廳場景是 9 分 43 秒。

The first and most important thing to notice, the thing that other differences spring from, is the number of shots used to cover this scene.

首先，也是最重要的，是覆蓋這個場景所使用的 shot 數量，其他差異都由此而生。

In 1940, Lubitsch filmed the cafe scene in just 19 shots.

1940 年，Lubitsch 只用了 19 個 shot 就拍完了咖啡廳的場景。

In comparison, Nora Ephron, 58 years later, used 133 shots for the same material.

相比之下，58 年後的 Nora Ephron 用了 133 個 shot 來處理相同的素材。

That is, of course, a massive difference.

The average shot length in the earlier version is a whopping 26.2 seconds.

早期版本的 average shot length 高達 26.2 秒。

While in you've Got Mail, the average shot length is just 4.4 seconds.

而在《電子情書》中，average shot length 僅為 4.4 秒。

So where do these 114 extra shots come from in you've Got Mail?

那麼，《電子情書》中多出來的 114 個 shot 是從哪裡來的呢？

Well, let's look at the setup of this scene, when the man and his friend arrive at the cafe and look through the window for the pen pal in Shop around the Corner.

嗯，讓我們來看看這個場景的設定，當男人和他的朋友抵達咖啡廳，並在《街角商店》中透過窗戶尋找 pen pals 時。

Lubitsch lets it play in one unbroken medium two shot.

Lubitsch 用一個不間斷的 medium two shot 來呈現。

Efron, on the other hand, opts for shot reverse shot, cutting back and forth from the man to his friend.

而 Efron 則選擇了 shot reverse shot，在男人和他的朋友之間來回剪輯。

It's the same throughout the entire scene.

Lubitsch prefers long two shots, while Efron goes for shot reverse.

Lubitsch 偏好長鏡頭的 two shots，而 Efron 則選擇 shot reverse。

Now, one of these techniques is not necessarily better or worse than the other.

現在，這兩種技巧哪個比較好或比較差，並不是絕對的。

Shot reverse shot, for example, gives a director greater control of pacing in the editing phase.

舉例來說，shot reverse shot 讓導演在剪輯階段能更精準地掌控節奏。

And it lets you use different takes and different framings, like close ups, to fine tune the emotional arc of the scene.

而且它能讓你運用不同的 take 和不同的構圖，像是 close ups，來微調場景的情緒起伏。

Long two shots, on the other hand, tie the editor's hands, but

另一方面，長鏡頭的 two shots 會限制剪輯師，但

they convey a palpable sense of time and space, especially the space between the actors.

它們能傳達出真實的時間感和空間感，尤其是演員之間的空間。

Every action and reaction in a two shot is real.

two shot 中的每一個動作和反應都是真實的。

Lubitsch and Efron, of course, had personal reasons for their shot selections, but

當然，Lubitsch 和 Efron 在選擇 shot 時都有他們個人的考量，但

這些選擇也反映了時代的變遷。

Films of the 20s and 30s and 40s have much longer shots on average, than films of the 90s or 2000s.

二〇年代、三〇年代和四〇年代的電影，平均 shot 長度比九〇年代或二〇〇〇年代的電影長很多。

it's partly due to the influence of other media on cinema.

部分原因是因為其他媒體對電影的影響。

Early filmmaking techniques were influenced by the conventions of stage plays, where many filmmakers began their careers.

早期的 moviemaking 技巧受到舞臺劇慣例的影響，許多電影製作人都是從舞臺劇起家的。

Audiences were used to being their own editors, choosing where to look in the frame.

觀眾習慣自己當剪輯師，選擇畫面中要看哪裡。

Films of the 80s and 90s were influenced by music videos and commercials, which increased viewer tolerance for more rapid editing, it's tempting to say this change reflects a shortening of attention spans.

八〇年代和九〇年代的電影受到音樂錄影帶和廣告的影響，這增加了觀眾對快速剪輯的接受度，很難不讓人覺得這種改變反映了注意力時長的縮短。

But human attention, like cinema, is structured by the wider world.

但人類的注意力，就像電影一樣，是由更廣闊的世界所建構的。

The sheer amount of information people were expected to consume and digest increased enormously from 1940 to 1998.

從一九四〇年到一九九八年，人們被期望要吸收和消化的資訊量，大幅增加了。

So information was condensed into shorter, faster units.

所以資訊就被濃縮成更短、更快速的片段。

And this seeps into everything, including our movies and their language.

這也滲透到各個層面，包括我們的電影和它的 film language。

This is obviously not to say there are no long takes in modern movies, but

這當然不是說現代電影裡就沒有長鏡頭了，但

I think it is true that long takes, especially static long takes, stand out to us in a way that they didn't in 1940.

我想，長鏡頭，尤其是靜態長鏡頭，確實會以一種我們在1940年時不會注意到的方式，凸顯出來。

They feel like an aesthetic choice rather than the invisible norm.

它們感覺起來像是一種美學選擇，而不是看不見的常態。

They challenge that anxious feeling way down deep in us, which grows the longer and longer they go on that we're not getting enough information for our time, which is a shame.

它們挑戰我們內心深處那種焦慮感，隨著時間越拉越長，我們覺得自己沒有在時間內獲得足夠的資訊，這很可惜。

I mean, this is not a video disparaging Nora Ephron, who I think is a really good filmmaker and a great writer.

我的意思是，這不是一部批評 Nora Ephron 的影片，我覺得她是一位很棒的 moviemaker 和很棒的編劇。

But I do believe that the Lubitsch version of the cafe scene augments the material more.

但我相信，Lubitsch 版本的咖啡廳場景，更能增添素材的豐富度。

A two shot like this, for example, visualizes the imbalance of knowledge that Jimmy Stewart knows more than Margaret Sullivan.

像這樣的 medium two s，舉例來說，就視覺化了知識的不平衡，吉米史都華比瑪格麗特蘇利文知道更多。

And long static takes make even the smallest camera movements incredibly impactful.

而長時間的固定鏡頭，讓最細微的鏡頭移動都極具影響力。

只有 19 個 shot，每一個都很重要。

Lubitsch does use shot reverse shot, but only when it will sink deepest and do the most damage.

Lubitsch 有使用 shot reverse shot，但僅限於能最深入人心、造成最大傷害的時候。

You know, people seldom go to the trouble of scratching the surface of things to find the inner truth.

你知道，人們很少費心去挖掘事物的表象來找出內在的真相。

Well, I really wouldn't care to scratch your surface, Mr. Crowley, because I know exactly what I'd find.

嗯，克勞利先生，我一點也不想去挖掘你的表象，因為我確切知道我會找到什麼。

不是一顆心，而是一個手提包。

不是一個太陽阿兵哥的行李箱。

And instead of an intellect, a cigarette lighter, which doesn't work.

而不是一個聰明的腦袋，是一個打不著火的打火機。

By the time we get to the same moment in you've Got Mail, we've already been in shot, reverse shot for a while and the lines don't nearly hit as hard.

等到我們在《電子情書》中看到相同的時刻，我們已經 shot reverse shot 了一段時間，臺詞的衝擊力也沒那麼強了。

If you really knew me, if I really knew you, I know what I would find.

如果你真的認識我，如果我真的認識你，我知道我會找到什麼。

不是一個腦袋，而是一個收銀機。

You know, in my opinion, movies haven't gotten better or worse over time.

你知道，在我看來，電影隨著時間的推移並沒有變得更好或更壞。

They've just changed, mirroring the ways that we've become more sophisticated and visually literate, busier, savvier.

它們只是改變了，反映了我們變得更成熟、更有視覺素養、更忙碌、更精明的方式。

In some ways more jaded, in many ways more thoughtful.

有些方面變得更厭倦，許多方面變得更深思熟慮。

But there are unique things about the early decades of cinema that can't really be replicated today.

但電影的早期幾十年有一些獨特之處是現在無法真正複製的。

The good news is that these movies still exist, and

好消息是，這些電影仍然存在，而且

the holiday season is a great excuse to watch one.

So if you're looking for something special to watch with the family this year, let this video be my recommendation.

所以如果你今年想找些特別的東西跟家人一起看，就讓這個影片成為我的推薦吧。

1940's the Shop around the Corner by Ernst Lubitsch.

1940 年的《街角酒店》(The Shop around the Corner)，由恩斯特·劉別謙執導。

A movie that's of its time in its construction, but timeless in its appeal.

這部電影在製作上很有時代感，但魅力卻是永恆的。

Happy holidays and thank you so much for watching.

佳節愉快，非常感謝大家的收看。

I just noticed that as of a few days before Christmas 2023, the hardcover of my book of essays is on sale for just $14.24.

我剛注意到，在 2023 年聖誕節前幾天，我的散文集精裝版特價只要 14.24 美元。

If you haven't read the book yet and are looking for something fun and easy to read over the holiday.

如果你還沒讀過這本書，而且正在找一些有趣又輕鬆的東西來過節。