"Nowhere to Run" by Martha and the Vandellas

"無處可逃"，由瑪莎與范德拉所演唱

Yes, you know what I mean.

對，你知道我在說什麼

Hi my name is Tony and this is Every Frame a Painting.

嗨 我是Tony，這是幀影幀畫

Today I’m going to honor the incomparable Robin Williams.

今天這部影片我想紀念無可比擬的羅賓.威廉斯

There have been a lot of moving tributes over the last month,

這幾個月網路上有許多致敬影片,

but I’d like to sidestep what others have said

但我想略過其他人講過的,

and focus on something else: how he moved in a scene.

並專注在其他事情上: 他如何在鏡頭前移動。

--You do an eclectic celebration of a dance. You do Fosse, Fosse, Fosse

"你表現出舞蹈獨樹一格的頌讚。你舞個....鮑伯.福西"

You do, Martha Graham, Martha Graham, Martha Graham!

跳個... 瑪莎.葛蘭姆!

Blocking is the choreography of the actors and the camera.

"佈局"是演員與鏡頭之間的編排

To put it bluntly, the actors move. How they move tells us something

直白地說，演員的移動。他們的移動告訴我們

about the characters, the scene and the story.

有關於角色、場景以及故事

--but you keep it all inside.

"但你將此藏之於內"

Good blocking is good storytelling. If you’d like to see this for yourself,

好的佈局可助於闡述故事，若你想親眼見識

pick a scene and watch how the actors move.

選一個場景觀賞 演員們如何移動

--We're all gonna sit down and we're gonna finish it.

"我們全都坐下，然後我們結束這個遊戲。"

Three minutes later, this is how he makes her sit.

3分鐘過後，看看他如何使她坐下

--Anybody up for iced tea? I'm gonna make some tea.

"有誰要喝茶的 ?我去泡些茶來 "

You could watch this film with the sound off and still understand

你可以把聲音關掉觀看這段影片，然後還是能了解它大致上在講什麼

most of the story. That's good blocking. Everything you need to know about

那是好的佈局，所有對角色的了解、

the characters, their relationship and how it changes

他們的關係，以及那些關係怎麼變化的

is presented to you through physical movement. Blocking is a collaboration

都透過真實的動作呈現在你面前。 佈局考驗著演員與導演之間的默契

between actor and director. Even though the director approves it, the actors are

儘管導演設計了這個佈局，最終仍是

ultimately the ones who have to perform it.

演員要將它呈現出來

And that's why Robin Williams work is so dynamic

那正是為何羅賓.威廉斯的表現如此亮眼

--You move with it!

"你跟著鏡頭移動"

--Lead with something!

"牽引著什麼"

Few actors could express themselves as well through motion

很少演員可以透過動作來表達他們的演技

Whether that motion was big

無論那動作是大

or small

是小

Even when he was doing the same movement in two different scenes

即使他在兩個不同的場景做相同的動作

you could see the subtle variations he brought to the arc of the character.

你還是能看到他帶給這角色的微妙變化

Sometimes he would move and the camera would be still.

有時候他會在一個固定鏡頭前移動

Other times... --You're just a kid.

其他時候... "你只是個孩子。"

he would be still and the camera would move. This shot lasts

他會在移動的鏡頭前維持不動。

2 minutes and 45 seconds and is the first time these two characters connect

這段拍攝長達2分45秒，並且是這兩個角色首次交談

which Gus Van Sant shows by having the camera literally bring them together.

這裡葛斯.范.桑直接讓鏡頭將這兩個角色帶到一塊

--You don't know about real loss because that only occurs when you love something

"你不了解真正的失去，因為那只有在你重視某樣東西

--more than you love yourself.

勝於你自己時才會發生。"

And in other films, he moved with the camera, creating an elaborate dance

而在另外一部影片中，他則跟著鏡頭移動，創造了一個敘事性的舞動

--And all the time he's mumbling. --What's he mumbling?

"... 而他一直在嘴邊默念著" "他在默念著甚麼 ?"

--Mumbling truth.

"默念著真理"

Or a less elaborate one.

或是 比較沒那麼敘事性的舞動

To watch his work is to see the subtle things an actor can do with his hands.

觀賞羅賓.威廉斯的表演就是在看那些細節，那些演員透過他的手

his mouth

他的嘴

his right leg

他的右腳

and his facepalm.

以及他摀臉的動作 所能呈現的細節

Robin Williams' work is an encyclopedia

羅賓.威廉斯的表演是一套演員的百科全書

of ways that an actor can express himself through movement and he was

表現出演員可以 透過動作來表達他所要表示的

fortunate to work with filmmakers who used his talents to their fullest.

而他也很幸運能跟賞識他天賦的製片人工作

--I want you to find your own walk right now, your own way of

"我要你找到你自己的節奏，此時此刻, 你自己

striding, pacing, any direction, anything you want, whether it's

的大步伐、漫步行走、任何方向， 所有你想的到的，無論那是

whether it's proud or silly. Anything.

能讓你驕傲或你覺得笨拙的.. 任何事。"

I can't talk about how he pulled off so many different characters

我不能講述他是怎麼在這些角色上做到這些的

because I have no idea.

因為 我完全沒有頭緒

But I can talk about a few things that directors did to help his performances.

但我可以說的是導演做了什麼來幫助他呈現最佳的表現

Here are five.

這裡有5點

#1: They let him play it straight through. Movie acting is weird because

1. 他們讓他直白的演出。電影表演很奇怪

it’s hours of preparation to shoot one angle.

因為它需要好幾小時的準備，只為拍攝一個角度

And sometimes the actors only get a few seconds to really act.

而有時候演員只有幾秒鐘的時間 去真正的做表演

--My God, the children.

"我的天啊，孩子們"

Many directors here have a history of shooting scenes in 1 or 2 set-ups

許多導演擅於拍攝場景1或2次

which helps the actors keep their rhythm

這有助於演員保持他們的節奏

Some preferred elaborate camera moves. Others liked it very simple

有些則喜歡敘事性的運鏡，另外有些 情衷於簡單的畫面

But no matter what, they shared a common desire to let all the actors perform

但無論如何，他們都願意讓所有演員盡情去表演

uninterrupted, as much as possible.

盡可能地 沒有外在干涉 擾亂

--It's me, Alan, mom and dad! I'm home! I'm back!

"是我艾倫，媽！爸！ 我回家了！我回來了！"

#2: They gave him something physical to do.

2. 他們讓他去做件 相當具體明確的事物

Open the window. Pick up the apple. Put the cans back in the right spot.

打開窗戶、撿起蘋果 把罐子放到特定地點

--I said, well, you know what I'm dealing with here?

"我說 嘿 你知道嗎 我現在在這處理什麼事情"

These gestures sometimes repeated later in the film

這些動作有時會在影片後段不斷地重複

giving us a nice before-and-after portrait of the character.

給我們看到對於一個角色 的前後呼應

--Eleanor? --Yes?

"艾莉諾 ? 是 "

Other times they were just one-off moments.

其他時候它們只是一次性的畫面

As an editor, I can testify that when I’m looking at 12 takes of a scene,

作為一個剪輯師，我可以認出我是在看一個由12個鏡頭組成的場景

these little gestures make all the difference.

這些細節 改變了一切

#3: They used blocking to tell the story visually. Human beings are wired

3. 他們使用佈局來使故事影像化。

to respond to subtle changes in body language.

人類很容易對於 肢體語言的細微變化做出反應

We often derive more understanding from a person’s movements and tone

我們從一個人的動作及語氣所能了解的

than from the actual words they say.

往往比他們實際說的話要來得多

--You forget the girl.

"你忘了那女孩"

One of the great things about good blocking

關於佈局最棒的一件事

is that it’s universal and doesn’t need to be translated or explained.

就是它是通俗的，而且不需要被翻譯或是解釋

--you playing Dear Abby --I know, because she's my sister!

即使你不會說英文，你也能夠了解到底發生了什麼事

Even if you can't speak English, you understand exactly what's happening here

"別鬧了" "我不喜歡你，先生"

--Come on! --I don't like you, sir.

"為何呢 ?我有很好的性格，你問問任何人"

--Why not? I got a great personality, you ask anybody.

4. 他們讓他聆聽 那是從跟彼得.威爾合作開始的

#4: They let him listen. --That started with Peter Weir

他說，如果你單單聆聽，裡面隱藏著巨大的力量在裡頭

where he said, if you just listen there's a great power in that.

一段好的表演有很大比例 其實是聆聽

A good percentage what you think of as acting in a movie is actually listening.

有時候那是正在當下發生的事

Sometimes that’s what happened in the moment. Other times,

其他時候 我們剪輯找到這些時刻，並在剪接時 移動它們

we editors find those moments and move them around in the edit.

就像人們說的，表演就是反應

As they say, acting is reacting.

而最後，他們並沒有讓完美擋在靈感之前

And lastly: They didn’t let perfection get in the way of inspiration.

有時候在拍攝時 你腦中會有一幅完美的畫面

There’s a real desire sometimes to film it exactly the way it was in your head

或是在劇本上，但與羅賓.威廉斯一起工作 你必須要打開你的心

or on the page, but working with Robin Williams was about opening yourself up

來讓靈感 炸裂

to sudden bursts of inspiration.

"她過去常在睡覺時放屁，有一晚那屁放得太宏亮，把狗給吵醒了"

--She used to fart in her sleep. One night it was so loud, it woke the dog up

所以 保持開放吧~ 這個男人帶來了許多他從影以來 最指標性的時刻

So be open. This man improvised many of his most iconic moments.

也許他已經領略了什麼

Maybe he was onto something.

那些經典的時刻，人們不斷地重複 重複

--There's great moments that obviously people have rehearsed and gone over

重複 再重複聽到的，但真正直擊你心中的東西

and gone over and gone over, but literally when the stuff really hits you

通常是那當下發生的，且只發生在當下

it's usually something that happened and it happened then

這就是電影: 捕捉那個當下

and that is what film is about: capturing a moment.

永別了，羅賓.威廉斯

Farewell, Robin Williams.

翻譯: Agent Chen

--He is an editor's nightmare though, editors see him and they go "AGH!"

"他是剪輯師的夢魘，他們看到他就像: 呃 !"

because he shows up, you cut on him all the time, you can't cut on half a phrase

因為當他出現時，你要一直在他身上做剪接，你不能突然剪到一半

--Like it's hard to get a two-shot right now right?

好像現在很難 把它剪成兩個鏡頭一樣

--Dammit I can't hold it! Dammit Jim, the camera's too wide! Bones, go wide!

該死 ! 我無法hold住 ! 吉姆 攝影機太寬了 ! 天啊 太寬了

--I'll be back. --We love you.

"我會回來的" "我們愛你"

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