Many audiences never consider how important a great screenwriter is to a movie.

許多觀眾從沒想過一個好的編劇對電影是多麼重要

They may not realize how much the director and actors take their cues from the script,

他們可能不會想到導演和演員們受劇本影響多深

or think about why some scenes are exciting and others are boring.

或去思考為什麼某些場景較為刺激而其他的較為無趣

Because the hardest part about screenwriting isn't having an idea for a story, it's figuring

因為編劇最困難的不是有個點子，而是

out how to tell that story in a compelling way.

想出該如何精彩地說出這個故事

Today we're looking at Gone girl, for which Gillian Flynn had the difficult task of adapting

今天我們來看控制，關於 Gillian Flynn 如何肩負重任將

her novel into a modern film noir thriller.

她的小說改編成現代黑色驚悚電影

"I did not kill my wife."

「我沒有殺我老婆。」

The screenplay is very well crafted, and mixes traditional storytelling methods with her

劇本設計非常精巧，它結合了傳統的說故事手法以及

own personal style to create a unique story world.

以她個人特色創造的世界

Let's take a look at a few techniques Gillian Flynn used in her fantastic screenplay for

我們來看看一些 Gillian Flynn 使用在《控制》的劇本內

Gone Girl.

的技巧

Number one. Efficient action lines.

第一點，有效率的動作指導

In a script, action lines describe what is happening.

在劇本裡，動作指導描述了該發生什麼事

They're important because they help the director translate scenes from script to screen.

它們相當重要，因為它們幫助導演演繹了劇本上的劇情到大螢幕上

And Gillian Flynn writes great action lines.

而 Gillian Flynn 寫出了相當棒的動作指導

In this scene, she efficiently sets the tone in just two sentences.

在這場景裡，她有效率地用兩個句子設定了基調

And a few lines later...

而在後面幾行

While it's up to the director and actor, in this case Neil Patrick Harris, to decide how

雖然這些都取決於導演跟演員，在這個例子裡，Neil Patrick Harris 決定

to portray this on screen, this action line serves as a guide.

該如何在螢幕上詮釋這段，而動作指導給了他方向

And if you watch the scene with this action line in mind, you see that NPH truly gives

如果你看這幕實心中記著動作指導，你會發現 Neil Patrick Harris

him nothing.

什麼都不管

You may notice that the dialogue in the final film is different from the script.

你可能會發現最後電影呈現的對話跟據本裡的不一樣

This happens frequently.

這常常發生

The director or writer or actor changes something on set.

導演、編劇和演員常常在現場做改動

This is why it's so important for the writer to set the tone of the scenes in the script

這就是為什麼編劇在劇本裡設立基調事件很重要的事

— so anyone making changes understands the context and intention of the original line.

所以，當任何人要做改動時，可以了解這段的內容以及原句的用意

For example, at the end of the scene, Flynn writes:

舉例來說，在這幕的最後，Flynn 寫到

The phrase "ugly pause" is such a great way to describe a moment.

「尷尬地停頓」完美地形容了這場合

It implies tone and pacing in just two words.

它只用了五個字去暗示了這幕的基調與步調

Gillian Flynn's action lines are descriptive, concise, and full of personality.

Gillian Flynn 的動作指導相當淺顯易懂，而且精準但又充滿了個人魅力

The second technique I want to talk about is: The Last Line is the Point of the Scene.

第二個技巧我想談到的是，一幕的最後一句話才是整場的重點

In Anatomy of Story by John Truby - a screenwriting book I highly recommend - he writes:

John Truby 寫的 In Anatomy of Story – 一本我強力推薦的編劇教學的書，他寫到

He uses an upside-down triangle to represent the idea.

他用了倒三角形去表示一個點子

Let's apply the triangle to one of the best scenes in Gone Girl.

我們運用這個倒三角形到《控制》裡最精彩的一幕

"Hello?"

「哈囉？」

The first line of the scene is:

這幕第一句話是

Which immediately frames what the whole scene is about. What does Nick actually know? What

這馬上將整幕的重點聚集起來，Nick 到底知道什麼？

is he lying about?

他在說什麼謊？

This scene is about Nick realizing how much trouble he's in.

這幕是關於 Nick 正發覺自己身陷麻煩

Let's watch as Flynn makes the scene funnel toward a single point.

我們起來看 Flynn 如何將這幕聚焦在一個點子上

Nick begins to understand that all of the evidence points to him.

Nick 開始瞭解到所有的證據都指向他

The noose tightens...

陷阱越鎖越近

And tightens...

越來越緊

And tightens. Until finally:

緊到最後

Boom. The scene culminates in a single point as Nick finally realizes the trouble that

爆炸了，這幕的高潮到達一點，就是 Nick 終於理解到他所深陷的

he's in.

危機

He makes a new decision and the story moves right along. That's good screenwriting.

他做了新的決定，而故事也隨之往前推進，這就是很棒的編劇

If you look for it, you'll notice most good scenes follow this simple rule.

如果你更近的研究，你會注意到很多很棒的場景都追隨著這簡單的準則

The last topic I want to cover is one of the most misunderstood story techniques:

最後一點我想說的是關於最容易被誤解的說故事技巧

The subplot character.

次要情節的角色

Most people think of a subplot character as a kind of other-protagonist in a separate

大部分的人認為次要情節的角色是主角以外

storyline, but this is incorrect.

不相關的故事線，但這是不正確的

Again, quoting John Truby:

再一次，我們引用 John Truby：

Basically, it's a character that is dealing with the same problem as the protagonist,

基本上，這些角色是與主角處理同樣問題的人

but in a different way.

但，他們的狀況卻不太一樣

Of the two subplot characters in Gone Girl, one is in the movie for a single scene.

在《控制》裡，有兩個支線角色，其中一個在電影裡的一幕

By comparing the protagonist, Nick, with this subplot character the writer can reveal information

當我們比較主角 Nick 與支線的角色，編劇可以透露出些訊息

and demonstrate how certain choices may play out.

並且闡述為何一些潛在選擇劇情可能會展開

The first comparison:

第一個比較是

Amy is framing Nick for murder, and she previously framed Tommy for rape.

Amy 陷害 Nick 謀殺罪，而他之前也同樣誣陷 Tommy 強姦

This is new information for both Nick and the audience.

對於 Nick 和觀眾們來說，這是新資訊

Amy has a history of this behavior.

Amy 對這件事是有前科的

The second comparison:

第二個比較是

Amy lashed out at Tommy after he stopped trying to be the man she wanted him to be.

在 Tommy 拒絕當 Amy 所期望的男人時，Amy 斥責了他

This is an important lesson for Nick, because eventually he realizes this is how he can

對於 Nick 這是一個很重要的一課，因為最後他領悟到

get Amy to come back - by going on TV and pretending to be the man she wants him to

他該如何把 Amy 贏回來–上電視，重新扮起她所期望

be again.

的男人

Nick is learning from Tommy's experience.

Nick 從 Tommy 的經驗裡學到了這一課

And the final comparison:

而最後的比較是

Tommy underestimated the extreme lengths that Amy could go to.

Tommy 低估了 Amy 的做事情底線

This is essentially a warning for Nick - Amy is crazy enough to get away with this if she

這對 Nick 來說是個很重要的警告， Amy瘋狂到只有她想，她便一定能夠

wants to.

脫身

In just one scene, Gillian Flynn is able to use the Tommy character to give Nick and the

只用了一幕，Gillian Flynn 便能用 Tommy 給 Nick 和觀眾新資訊

audience new information, and show a glimpse of what could happen to Nick if he's not careful.

以及述說要是 Nick 不夠小心可能造成的後果

And, because she's a good screenwriter, the scene ends at the point.

因為她是個相當棒的編劇，這幕總結在個完美的點上

I really appreciate films that respect the audience, where you can tell the people that

我很欣賞這部片很尊重觀眾，你能夠分辨出

made it really care about creating an entertaining experience.

誰真的很用心在創造娛樂的觀影體驗

The screenplay for Gone Girl is a great example of how to use simple, classic storytelling

《控制》的劇本是個完美的例子去

techniques to do exactly that.

介紹簡單且經典的說故事手法

Thanks for watching Lessons from the Screenplay.

謝謝你們觀賞從劇本裡學到的課

If you have a suggestion for a script I should analyze in the future, leave a comment below.

如果你想推薦我我分析更多劇本，在下面留言

And if you want more insights into great screenplays, be sure to like this video and subscribe.

如果你想看更多關於劇本的內幕，請記得點擊喜歡這部影片並訂閱我們