Name: Spotlight 如何精彩呈現優質新聞報導！ (How Spotlight Dramatizes Good Journalism)
Uploaded: 2026-02-04T17:09:13.000Z
Duration: 8 min 29 s

How do you tell a story about telling a story?

你要怎麼說一個關於說故事的故事呢？

That was the creative challenge facing the filmmakers of the 2015 Best Picture winner, Spotlight, a movie about an investigative reporting team at the Boston Globe who exposed systematic child sex abuse by Catholic priests in the Boston area.

這就是 2015 年 Best Picture 得獎電影 Spotlight 所面臨的創意挑戰，這部電影講述一個波士頓環球報的深度報導團隊，揭露了天主教神父在波士頓地區系統性的性侵兒童案件。

The kind of storytelling in question is journalism.

所說的那種說故事方式，就是新聞業。

Specifically print journalism, Even more specifically investigative print journalism.

具體來說是印刷媒體新聞業，更具體來說是深度印刷媒體新聞業。

What Director Tom McCarthy and his team wanted to do was capture this kind of storytelling as honestly as possible to show what it really looks like when it's done right.

導演湯姆·麥卡錫和他的團隊想要盡可能誠實地捕捉這種說故事的方式，來呈現它做得好的時候真實的樣子。

Once we settle on a project, we can spend a year or more investigating it.

一旦我們確定了一個專案，我們可能會花一年或更長的時間來調查它。

Investigative reporting can be a long and tedious process full of dead ends and monotonous tasks.

深度報導可能是一個漫長而枯燥乏味的過程，充滿了絕路和單調的任務。

That doesn't mean the results are boring or that there aren't moments of intensity in the reporting.

這並不代表結果很無聊，或者報導過程中沒有緊張刺激的時刻。

Only that the kind of journalism that produces stories like the one in Spotlight involves a lot of mind numbing work.

只是說，像《Spotlight》那樣的故事所產生的新聞工作，涉及很多令人麻木的工作。

In fact, the ability to engage in that kind of tedium is, I think, an essential feature of investigative journalism.

事實上，我認為能夠忍受這種枯燥乏味的能力，是深度報導的一項基本特質。

And that poses a problem for anybody who might want to capture the profession on film as it really is.

而這對任何想在電影中真實呈現這個職業的人來說，都是個問題。

我們挖到了一個近年來最大的新聞。

Earl Williams captured by the Morning Post exclusive.

《Morning Post》獨家報導，逮捕了厄爾·威廉斯。

Yeah, and I want you to tear out the whole front page.

是的，我要你把整個頭版撕下來。

That's why they sent the whole front page out.

這就是為什麼他們把整個頭版都送出去。

As soon as there were movies, there were movies about reporters.

電影一出現，就有關於記者的電影了。

The first time Charlie Chaplin ever appeared on screen, in 1914, he played a swindler impersonating a journalist.

卓別林第一次出現在螢幕上，是在 1914 年，他飾演一個冒充記者的騙子。

In 1919, Harry Houdini played a newspaper reporter who is wrongly accused of murder and must make a series of daring escapes in order to find the real killer.

1919 年，赫迪尼飾演一位報社記者，他被錯誤地指控謀殺，必須進行一連串大膽的逃脫才能找到真凶。

Already in the silent film era, stereotypes start to form of news people that are still recognizable today of the intrepid crusading journalist who, like the detective, often uses questionable tactics to land the big scoop or expose the corruption of the rich and powerful.

在無聲電影時期，關於新聞從業人員的刻板印象就已經開始形成，至今仍可辨識，像是無畏的、奮鬥的記者，他們就像偵探一樣，經常使用可疑的手段來獲得獨家新聞或揭露富人與權貴的腐敗。

In these films, writes historian Howard Good journalists were by turns idealists and hardened cynics, crusaders and midnight conspirators.

歷史學家霍華德·古德寫道，在這些電影裡，記者們時而是理想主義者，時而是老練的犬儒主義者，時而是奮鬥者，時而是午夜的陰謀家。

Our attitude toward them continually swings from dark to bright and back again.

我們對他們的態度不斷在黑暗與光明之間來回擺盪。

You're a journalist, Hildy, a journalist.

This complicated stereotype carried right into the talkies.

這個複雜的刻板印象一直延續到有聲電影時代。

The reporters In Howard Hawk's 1940 classic, His Girl Friday embody all these qualities perfectly.

在霍華德·霍克斯 1940 年的經典電影《五A級新聞》中，記者們完美地體現了所有這些特質。

They are wisecracking and world weary, sometimes nasty and unscrupulous, yet they fight for the truth and the little guy against the powers that be.

他們說話尖酸刻薄、飽經世故，有時也很惡劣、不擇手段，但他們為了真相和弱勢群體，對抗權貴。

In the decades that followed, journalists on film were Sometimes heroes like Humphrey Bogart in Deadline usa and sometimes villains like Kurt Douglas in Ace in the Hole or Burt Lancaster and Tony Curtis in Sweet Smell of Success.

在接下來的幾十年裡，電影中的記者們，有時是像韓弗萊·鮑嘉在《美國最後的 deadline》裡的英雄，有時是像寇克·道格拉斯在《失控的 છે》裡的壞蛋，或是伯特·蘭卡斯特和東尼·寇提斯在《成功的滋味》裡的形象。

Whether the reasons were good or bad, though, reporters were always willing to do whatever it took to get the story.

不論原因好壞，記者們總是願意付出一切代價來取得新聞。

For a brief time in the late 70s, journalists became superheroes.

在 70 年代末期，有那麼一小段時間，記者們成了超級英雄。

The closest predecessor, Spotlight, is, of course, Alan Pacula's all the President's Men, about Bob Woodward and Carl Bernstein peeling back the layers of the Watergate scandal.

最接近的先驅，當然就是艾倫·帕庫拉的《驚爆焦點》，關於鮑勃·伍德沃德和卡爾·伯恩斯坦揭開水門事件的層層真相。

Investigative reporters were the perfect heroes for a paranoid era, shining the light of truth into the dark corners of power.

深度報導記者是個充滿疑慮時代的完美英雄，將真相的光芒照亮權力黑暗的角落。

With the help of master cinematographer Gordon Willis, Pacula visualized this antagonism by making the Washington Post newsroom a place of bright light and deep focus within a city absolutely draped in shadow.

在攝影大師高登·威利斯的協助下，帕庫拉透過讓《華盛頓郵報》的編輯部充滿明亮的光線和深邃的焦點，來具象化這種對抗，而整座城市則籠罩在陰影之中。

Like Spotlight, all the President's Men is less about the story at the heart of the film, in this case Watergate, and

就像《驚爆焦點》一樣，《驚爆內幕》與其說是在講述電影的核心故事，也就是水門事件，

The movie popularized the phrase follow the money, and

這部電影讓「跟著錢走」這句話廣為流傳，

though that's a great line, in practice, following the money isn't all that exciting.

雖然這是一句很棒的臺詞，但實際上，跟著錢走並沒有那麼令人興奮。

It involves a lot of paperwork and cross referencing, searching for people's contact information, dealing with bureaucrats knocking on doors, verifying and reverifying.

這涉及大量的文書工作和交叉比對，尋找人們的聯絡資訊，與官僚打交道，敲門，反覆驗證。

That is the real, unglamorous daily slog of a reporter.

這就是記者們真實、不光鮮亮麗的日常工作。

And if you don't communicate that in a movie about journalism, you haven't really done what you've set out to do.

如果你在一部講述新聞業的電影裡沒有呈現這一點，你就沒有真正做到你該做的。

But you can't make a movie boring just so that it's authentic.

但你不能為了真實而讓一部電影變得枯燥乏味。

The challenge for Pacula, and 40 years later for Tom McCarthy, is to dramatize the undramatic.

對 Pacula 來說，以及 40 年後對 Tom McCarthy 來說，挑戰在於將平淡無奇的內容戲劇化。

Even though montages can be cliche, they are still a useful tool for conveying effort.

儘管蒙太奇可能很陳腔濫調，但它們仍然是傳達努力的有用工具。

In Spotlight, a key development in the investigation occurs when reporters discover pedophile priests are being classified as being on sick leave in church directories.

在《驚爆焦點》中，記者們發現戀童癖神父在教會名錄中被歸類為病假，這是一個關鍵的調查進展。

So they scrub years and years of these directories to identify priests with that designation.

所以他們仔細檢查了這些名錄多年，以找出帶有這種標記的神父。

Tracking what they find in a spreadsheet.

Now, there's nothing exciting about inputting data into Excel, but

雖然把資料輸入 Excel 沒什麼令人興奮的，

a montage allows McCarthy to show this crucial part of the investigation in a lively way, while also conveying the feeling of drudgery required another tool, and

但蒙太奇讓 McCarthy 用生動的方式呈現調查的這個關鍵部分，同時也傳達了另一種工具所需的枯燥乏味感，

by definition a less appreciated one, is understatement.

且就其定義而言，這是一種較不被欣賞的工具，那就是低估。

Spotlight uses this even more than all the President's Men.

《驚爆焦點》比《驚爆內幕》更常使用這個手法。

The cinematography is simple, the color palette is muted, the production and costume design messy and modest.

攝影簡單，色調柔和，製作和服裝設計凌亂樸實。

Howard Shore's score isn't in your face, and it's used sparingly.

Howard Shore 的配樂不張揚，而且使用得很節制。

McCarthy's direction doesn't call attention to itself.

McCarthy 的執導手法並不引人注目。

His camera moves are functional, inconspicuous.

他的鏡頭移動是功能性的、不顯眼的。

Now, this isn't a knock on the people who worked on these things.

這不是要批評參與這些製作的人。

It takes just as much art to create a reserved aesthetic as it does to create a stylized one.

要創造一種內斂的美學，跟創造一種風格化的美學一樣需要藝術。

It's going to get a lot less attention, but that's the point.

這樣做會比較不引人注目，但這就是重點。

The understated tone of Spotlight, from the performances to the visuals to the music, serves the story perfectly.

《驚爆焦點》低調的調性，從表演、視覺到音樂，都完美地服務了故事。

It tells us something vital about the nature of good journalism, that the work is sober and its practitioners meticulous, that some deeply important truths only exist on the other side of months or years of unglamorous reporting.

這告訴我們關於優質新聞業本質的一件重要事情：這份工作是嚴肅的，從業人員是細心的，有些非常重要的真相，只有在經過數月或數年的枯燥乏味報導後才會顯現。

這是一種很難拿捏準確的調性。

A few years after Spotlight, Spielberg made the Post, which has the same goals, but

在《驚爆焦點》幾年後，史匹柏拍了《郵報》，目標一樣，但是

I think leans a little too far into righteousness, to the point where this newsroom aesthetic became susceptible to parody.

我覺得有點太過於強調正義感，導致這種新聞編輯室的美學變得容易被模仿嘲弄。

Newspaper movie featuring men in bad ties and short sleeved colored shirts Gross Styrofoam coffee cups and you can bet your sweet ass there's a scene with a very long pregnant pause while everyone waits for the editor to say, let's, let's go, let's do it.

一部報紙電影，裡面有穿著糟糕領帶和短袖襯衫的男人，粗糙的保麗龍咖啡杯，你敢打賭，一定會有一個場景，大家在漫長的停頓中，等待編輯說出「我們開始吧，我們去做吧」。

Let's go, let's go, let's go, let's publish.

來吧，來吧，來吧，我們開始吧。

Like anything else, it's important to capture journalism honestly.

就像其他任何事情一樣，誠實地呈現新聞業是很重要的。

When we see what reporting really looks like, we better understand what resources are required for the best version of it to thrive.

當我們看到報導的真實樣貌時，我們就能更瞭解要讓它發揮到最好，需要哪些資源。

Spotlight shows us what the gold standard is.

《驚爆焦點》讓我們知道什麼是最高標準。

To quote David Simon, creator of the Wire, it's a bunch of people who go out and acquire information in a systemic way and then bring it back to a collective of people with real experience and real institutional memory who have an understanding of the continuity and context of issues and can determine the news value and publish it accordingly.

引用《The Wire》的創作者 David Simon 的話，這是一群人系統性地收集資訊，然後帶回一群擁有真正經驗和機構記憶的人，他們瞭解議題的延續性和背景脈絡，能夠判斷新聞價值並據此發布。

Getting that complex and nuanced message through in a two hour movie is impressive.

在一部兩小時的電影裡傳達這種複雜而細膩的訊息，真的很厲害。

Then again, journalists do that kind of thing all the time.

不過話說回來，記者們一直都在做這種事。

Hey everybody, thank you so much for watching this episode was brought to you by Amazon Studios and the Amazon original film the Report, starring Adam Driver, Annette Bening, and

嘿，各位，非常感謝收看本集，本集由 Amazon Studios 和 Amazon 原創電影《The Report》贊助播出，該片由 Adam Driver、Annette Bening 和

Thank you to Amazon Studios for sponsoring this video and agreeing, like all my other sponsors, to let me have full creative control on this piece.

感謝 Amazon Studios 贊助本影片，並同意，就像我所有的其他贊助商一樣，讓我對這部影片擁有完全的創意控制權。

Amazon actually sent me the report a couple months ago and I really liked it.

Amazon 其實幾個月前就寄了這份報告給我，我真的很喜歡。

It's powerful work from writer, director Scott Z.

這是編劇兼導演 Scott Z. 的傑出作品。

though it's not a movie about journalism, it has a lot of the same thriller and investigative elements as all the President's Men and Spotlight.

雖然這不是一部關於新聞業的電影，但它有許多跟《驚爆焦點》和《驚爆 168 小時》一樣的驚悚和深度報導元素。

Critics have called the movie gripping and eye opening, a portrait of American heroism, and

影評稱這部電影引人入勝、發人深省，是一幅美國英雄主義的畫像，

festival crowds played seem to really like it as well.

The Report is out now in select theaters and available on Amazon Prime Video across the globe November 29th.

The Report 現正在部分影院上映，並於 11 月 29 日起在 Amazon Prime Video 全球同步播出。

For ticketing and more information about this film from writer, director and producer Scott Z.

想知道更多關於這部由編劇、導演兼製片人 Scott Z. 的

Burns, go to Amazon.com thereportmovie thanks guys.

Burns 所執導的電影的票務資訊，請前往 Amazon.com thereportmovie，謝謝大家。