When me, I like movies that are staying with me for days or weeks, you know, that's, that's the beauty of cinema.

我喜歡那些能讓我回味幾天或幾周的電影，這就是電影的魅力所在。

When you create images and those images create emotions or questions inside yourself that you bring with you at home and uh makes you think about the world not today.

當你創作影像時，這些影像會在你的內心產生情緒或問題，你會把這些情緒或問題帶回家，讓你思考當今的世界。

I mean that those are the movies I love.

我的意思是，這些都是我喜歡的電影。

And that's why II I would like to do as a filmmaker.

這就是我想成為電影製片人的原因。

I've always considered cinema foremost as a tool for storytelling.

我一直認為電影首先是講故事的工具。

Although I've never thought it conceivable that cinema could ever just tell stories.

雖然我從未想過電影可以只講故事。

Films are forged in the minds of artists minds overflowing with a lifetime of experiences.

電影是藝術家們用畢生的經驗在頭腦中創造出來的。

And it's each of these experiences which plays the role of influencer to every creative filmic decision, cinematic thought is in essence, an exploration of oneself from what the artist considers life's most imperative questions to what is deemed a moral act, this elemental human import results in cinema being either a means to better understand the world in which we live or something so personal that it could only be the abstraction of art that could offer any semblance of an explanation.

正是這些經歷影響著電影創作的每一個決定，電影思想本質上是對自我的探索，從藝術家認為生活中最迫切的問題到被認為是道德的行為，這種人類元素的輸入導致電影要麼是更好地理解我們生活的世界的一種手段，要麼是如此個人化的東西，以至於只有抽象的藝術才能提供任何解釋的雛形。

The true art of filmmaking is to transpose it from mere storytelling to a cathartic instrument for mankind a manner wherein for a brief moment, it's the impression of real life which makes reality and all its nuances make sense.

電影製作的真正藝術在於將其從單純的講故事轉變為人類的一種宣洩工具，讓人們在短暫的瞬間感受到真實的生活，從而使現實及其所有的細微差別變得有意義。

Cinema is the human dream a way to understand how our trauma fits into this existential jigsaw.

電影是人類的夢想，是理解我們的創傷如何融入這個存在拼圖的一種方式。

She's wondering why I'm not there.

她在想我為什麼不在那裡。

The fucking rescuer.

該死的救援者

Do you understand that?

你明白嗎？

Me, not you, not you but me every day?

我，不是你，不是你，而是每天的我？

So forgive me for not going home to have a good night's rest.

所以，請原諒我沒有回家好好休息。

But perhaps the greatest way to wield cinema is as a synthesis to use stories of high personal drama to present them as a reflection of the issues that pervade all of humanity, a fusion of the personal with the universal and this is the perfect encapsulation of the cinema of Danny Vil Nev.

但是，電影最偉大的方式也許是作為一種綜合體，利用高度個人戲劇性的故事來反映全人類普遍存在的問題，將個人與普遍性融合在一起，這就是丹尼-維爾-內夫電影的完美概括。

I feel the best thing that can be said about Vil Nev's work is that he generates films of such a haunting complexion that they remain with you.

關於維爾-內夫的作品，我覺得最好的評價就是，他的電影讓人魂牽夢繞，久久不能忘懷。

They mirror the world we live in while simultaneously displaying the rawness of the human condition.

它們反映了我們生活的世界，同時也展現了人類的原始狀態。

I like when the stories can have, we can relate to the stories from an intimate point of view like this and that this story can be about politics from a so so politics point of view, but still you you relate to the story from with intimacy and that it's always the best story.

我喜歡這樣的故事，我們可以從這樣一個親切的角度去理解故事，這個故事可以從一個如此這般的政治角度去理解政治，但你仍然可以從親切的角度去理解故事，這永遠是最好的故事。

But how exactly does Villeneuve spawn stories of such a chilling proportion yet sustain that intimacy.

但是，維倫紐瓦究竟是如何創造出如此令人不寒而慄的故事，又如何保持這種親密感的呢？

It requires investment of the audience.

它需要觀眾的投入。

And to achieve that, Villeneuve relies on filmmaking techniques that emphasize mystery.

為了實現這一目標，維倫紐瓦採用了強調神祕感的拍攝手法。

All right, we're good.

好了，我們沒事了

Just don't keep us in the dark.

只是別把我們矇在鼓裡。

All right, you're afraid of the dark.

好吧，你怕黑。

What I believe to be the strength of Vnu's movies is the ability to control information, regulating what the audience sees is the role of any filmmaker from deciding which subject will be the focus to literally guiding our eyes through framing.

我認為 Vnu 電影的優勢在於控制資訊的能力，從決定哪個主題是焦點到通過取景引導我們的視線，控制觀眾的視線是任何電影製作人的職責。

But Villeneuve's filmmaking is more concerned with placing larger emphasis on what the audience doesn't say.

但維倫紐瓦的電影製作更注重強調觀眾不說的話。

No, I was in no, no.

不，我是在不，不。

The human imagination can be infinitely worse than reality.

人類的想象力可能比現實還要糟糕。

And thus, Villeneuve never permits the audience to see the whole picture.

是以，維倫紐瓦從未讓觀眾看到全貌。

He will often transition to a new scene before its climax or simply cut out entire portions of a scene.

他經常會在場景達到高潮之前過渡到新的場景，或者乾脆剪掉場景的整個部分。

Often the unknown is what is most terrifying and the audience is insufficient knowledge encourages them to fill in the gaps of the story that they nerve purposefully keeps hidden.

未知往往是最可怕的，觀眾的知識不足會促使他們去填補他們神經故意隱藏的故事空白。

If we were shown everything our mind is given closure.

如果讓我們看到一切，我們的心靈就會得到解脫。

But when we aren't we torment ourselves in wondering exactly what is being hidden from us.

但當我們不這樣做的時候，我們就會折磨自己，想知道到底有什麼被隱藏起來了。

VN loves to leave questions for the audience, whether it's the identity of our antagonist or the truthfulness of a character.

VN 喜歡給觀眾留下疑問，無論是對手的身份還是角色的真實性。

VN constructs his scenes by offering us fragments of information, details that are more than we anticipated, but less than what we need for a definite answer.

VN 通過向我們提供資訊碎片來構建他的場景，這些細節比我們預期的要多，但又比我們需要的明確答案要少。

They didn't, what did you say?

他們沒有，你說什麼？

The key is that Villeneuve finds from which perspective he will be able to exploit the most in order to both simultaneously hide information and reveal just a fraction.

關鍵在於，維倫紐瓦找到了自己最能利用的視角，既能同時隱藏資訊，又能只透露一小部分。

We may discover clues alongside our protagonist or cut away at the most vital moment.

我們可能會和主角一起發現線索，也可能在最關鍵的時刻被剪掉。

The goal is to find from which point offers us the most drama filmmaking for me because it's uh it's all about the notion of point of view.

我的目標是從哪個點出發，為我們提供最有戲劇性的電影製作，因為這就是視角的概念。

I think the most important thing in cinema is to uh to suggest and not to show for Villeneuve, the ideology behind filmmaking can be summarized under what information we receive and how we receive it.

我認為電影最重要的是 "暗示 "而不是 "展示"，對於維倫紐瓦來說，電影製作背後的意識形態可以概括為 "我們接收什麼資訊以及如何接收資訊"。

And for Villeneuve, it's through suggestion, a method of storytelling to use as little visual information as possible to say as much as you possibly can because sometimes the smallest pieces can say more than the complete picture ever could.

對於維倫紐瓦來說，這是一種通過暗示來講故事的方法，即用盡可能少的視覺資訊來表達儘可能多的內容，因為有時最細小的片段所表達的內容比完整的畫面還要多。

They'll never will focus on the details of the person hands gripping onto a bed, the details of a foot rather than where the drama actually lies.

他們永遠不會關注人的手抓住床的細節、腳的細節，而不是戲劇性的實際所在。

Perfect.

太完美了

Sua, it's a suggestion.

蘇婭，這是一個建議。

He doesn't directly show us the truth, but he shows us a portion of the truth.

他沒有直接向我們展示真理，但他向我們展示了真理的一部分。

It's as though Vil Neuve focuses on the segment of the image which doesn't directly give the audience an answer.

這就好像 Vil Neuve 專注於畫面中沒有直接給觀眾答案的部分。

But it says enough that we can envision a truth so harsh that it can't be directly looked at the atmosphere of Villeneuve's film stems from this unknown.

但它足以讓我們預見到一個殘酷到無法直視的真相，維倫紐瓦的電影氛圍正是源於這種未知。

One way to define his work is a fondness for dark material.

對他作品的一種定義是，他喜歡黑暗的材料。

But what makes it all the more powerful is how Villeneuve manages to create a constant sense of dread.

然而，維倫紐瓦如何營造出一種持續不斷的恐懼感才是這部影片的最大魅力所在。

It's a filmography which always feels on the brink of something awful about to happen.

這部電影總是給人一種可怕的事情即將發生的感覺。

It's a ceaseless apprehension and it comes down to the visual style that Villeneuve has created.

這是一種無休止的憂慮，歸根結底是維倫紐瓦創造的視覺風格。

The most apparent thing about the look of Villeneuve's films is that his camera work is objective and methodical.

維倫紐瓦的電影在外觀上最明顯的特點就是他的攝影客觀而有條不紊。

The camera rarely moves.

攝影機很少移動。

But when it does, it acts with a kind of omniscience as if it has a mind of its own objectively presenting events that seem destined to happen.

但是，當它這樣做的時候，它就會以一種全知全能的方式行事，彷彿它有自己的思想，客觀地呈現似乎註定要發生的事件。

The Nu's early work was far more based around a handheld and frantic style.

Nu 的早期作品更多是以手持和瘋狂風格為基礎。

But over time, it developed into a style which prioritizes a very meticulous image.

但隨著時間的推移，它逐漸形成了一種以一絲不苟的形象為優先的風格。

The result is something very sinister as though the camera knows something that we don't and acts in a manner to try and reveal that information.

其結果是非常陰險的，就好像攝影機知道一些我們不知道的事情，並以某種方式試圖揭示這些資訊。

OK.

好的。

Most of Vilnius's framing is done in wide angles with deep focus.

維爾紐斯的大部分取景都採用廣角深焦。

We see the entire frame with a stark clarity as if to show us the answers to the mysteries are in plain view.

我們看到整個畫面非常清晰，彷彿在告訴我們謎底就在眼前。

We're just looking in the wrong places.

我們只是找錯了地方。

But Vnu also likes to use this framing to heighten our character insignificance.

但 Vnu 也喜歡用這樣的框架來突出我們性格的渺小。

Vnu likes to isolate his subjects whether it's by cornering them in the frame or by using the landscape as a threat itself.

Vnu 喜歡將拍攝對象孤立起來，無論是將其置於畫面的一角，還是將風景本身作為一種威脅。

The camera's usage makes subjects seem inconsequential one way or another with a visual language, putting them in a state of seclusion.

攝影機的使用以一種視覺語言讓拍攝對象顯得無足輕重，使他們處於一種隱祕的狀態。

The purpose is to show that through isolation comes helplessness and this is exactly the same notion that comes with mystery being in the unknown.

其目的是要表明，孤立無援，這與神祕的未知世界中的無助感如出一轍。

The visuals are an extension of the idea of what it is to be dwarfed by an engulfing force.

視覺效果是對 "被吞噬的力量相形見絀 "這一概念的延伸。

Villeneuve accentuates dread and the crux of his imagery is based around this concept.

維倫紐瓦強調恐懼，他的想象力也是圍繞這一概念展開的。

Something foreboding, something unexplained scenes are shot at an incredibly slow pace in order to absorb all surrounding atmosphere.

一些不祥的、無法解釋的場景以極其緩慢的速度拍攝，以吸收周圍的氣氛。

But a staple for Villeneuve is the interjection of scenes with objects of interest that at first glance seem unrelated but leave us with a feeling.

不過，維倫紐瓦的一大特色是在場景中穿插一些有趣的物件，這些物件乍看之下似乎毫不相干，但卻給我們留下了深刻的印象。

These moments are more like exclamation points to punctuate the current emotion pervading the scene.

這些時刻更像是一個個感嘆號，用來點明當前場景中瀰漫的情緒。

They express something indefinable, but they do conjure something unnerving.

它們表達了某種難以言喻的東西，但確實讓人感到不安。

If the scene continued without these edits, they wouldn't feel as foreboding.

如果場景沒有這些剪輯，就不會讓人感覺那麼不祥。

But with them, they serve as a harbinger to the inevitable danger approaching our characters.

但是，有了它們，就預示著不可避免的危險正在向我們的角色逼近。

Look, I know you're a good guy, right?

聽著，我知道你是個好人，對吧？

I know you're a decent guy.

我知道你是個好人

I'm not trying to tell you you're doing anything bad.

我不是想說你做了什麼壞事。

I'm just trying to get the right answers out of you.

我只是想從你口中得到正確的答案。

OK?

行嗎？

The real ones, that's all I want.

真實的，這就是我想要的。

And in order to accentuate the trepidation V nerve rather than holding the camera still on subjects ups to employ very subtle zooms.

為了突出 "V 神經 "的惶恐不安，攝影師在拍攝時不是一動不動，而是採用非常微妙的變焦。

Thank you.

謝謝。

No, the effect of this is small but important when we see scenes where the camera is immobile, we're more likely to take the scene at face value because it's being presented to us as flatly as possible.

不，這樣做的效果很小，但很重要，當我們看到鏡頭不動的場景時，我們更有可能相信場景的表面價值，因為它儘可能平鋪直敘地呈現在我們面前。

But if the camera has a conscious thought process behind its actions, then there's a suggestion of a deeper subtext to the shot.

但是，如果攝影機的行動背後有一個有意識的思考過程，那麼這個鏡頭就會暗示出更深的潛臺詞。

The zoom gives the impression that each time one is used some kind of a revelation is about to occur.

這種變焦給人的印象是，每使用一次，就會出現某種啟示。

Yet when it doesn't, the audience's suspicions are heightened, uncertain of what relevance the scene had and therefore paying keener attention to the details that follow memory is a strange thing.

然而，當它沒有出現時，觀眾的疑心就會加重，不確定這個場景有什麼意義，是以會更加關注記憶之後的細節，這是一件很奇怪的事情。

It doesn't work like I thought it did.

它不像我想象的那樣管用。

But why does Villeneuve want to employ mystery in all of his movies?

但是，維倫紐瓦為什麼要在他所有的電影中都使用神祕色彩呢？

Because in the work of Denis Villeneuve, we're shown the fragility of the human mind when we lose sight of what we know because of our obsession for seeking the truth.

因為在丹尼斯-維倫紐瓦的作品中，我們看到了人類心靈的脆弱，當我們因為執著追求真理而迷失了自己的認知時。

Pair.

一對

Pair ma be having the twele got me.

對我有Twele得到了我。

Villeneuve is able to exploit the drama of scenes through when and how he reveals information.

維倫紐瓦能夠通過揭示資訊的時間和方式來利用場景的戲劇性。

We may return to a scene and see it from multiple perspectives.

我們可以回到一個場景，從多個角度去看它。

Only to realize that when we thought we had the answer, we were in fact solving the wrong mystery this whole time, we become just like our characters who too are looking for answers unaware that they're not asking the right questions.

到頭來才發現，當我們以為已經找到答案時，其實一直都在解決一個錯誤的謎題，我們變得和我們的主角一樣，也在尋找答案，卻不知道自己問的問題並不正確。

Our judgment becomes clouded as soon as we become emotionally invested.

一旦我們投入感情，我們的判斷力就會被矇蔽。

And Villeneuve presents us with a world that appears clear on its surface.

維倫紐瓦為我們呈現了一個表面上看似清晰的世界。

Yet we soon learn that our vision was always hindered by our own biases.

然而，我們很快就會發現，我們的視野總是受到自己偏見的阻礙。

Nothing is black and white.

沒有什麼是非黑即白的。

There's no objective morality in these worlds.

這些世界裡沒有客觀的道德。

Everything we know becomes questioned and it's through the implementation of mystery Deville Neuve reveals that there are no definitive answers because we must be the ones to craft our own morality.

我們所知道的一切都會受到質疑，而 Deville Neuve 正是通過揭示神祕色彩來揭示世界上沒有確定的答案，因為我們必須創造自己的道德觀。

We must recognize what we already know and question it.

我們必須認識到我們已經知道的東西，並對其提出質疑。

We must accept that we don't have all the answers.

我們必須承認，我們沒有所有的答案。

Even when we're so certain of it.

即使我們如此確信。

There's a cyclical nature in the films of Denny Villeneuve.

丹尼-維倫紐瓦的電影有一種週期性。

The answers to a character's questions are often revealed to us right at the beginning of the story?

人物問題的答案往往在故事的開頭就向我們揭示了？

Only at the end of the journey.

只有在旅程的終點。

Do we realize that we've come full circle?

我們是否意識到，我們已經繞了一個大圈？

But it's only by entering the unknown that our true selves fully emerge?

但只有進入未知世界，我們的真我才能完全展現出來？