This is Lessons from the Screenplay.

這是從劇本裡學到的東西

(monster lands)

(怪物落地)

Sound always plays a particularly important role in the horror genre,

聲音在恐怖電影裡扮演了重要的角色

whether it's a hair-raising score, a terrifying effect,

不論是令人髮指的配樂、恐怖的特效

or just a noise that gives away a character's location.

或只是雜音洩漏角色的位置

(crash)

(衝撞聲)

But “A Quiet Place” takes this a step further,

《噤界》更進一步

making sound itself a key element of the story.

將聲音變成故事的主要元素

(noise on roof)

(屋頂上的聲音)

As writer/director John Krasinski said:

編劇兼導演 John Krasinski 說道

“The sound design is a main character in the movie...

「音效在這電影裡，是主要角色

The guys designing the sound, Ethan and Erik,

設計音效的人是 Ethan 和 Erik

they're the most talented guys in the world.

他們是世界上最有才的人

You really got to see the art form of sound design at the highest level."

你真的能看到最好的音效藝術。」

“Alright. Ethan, take one.”

「好啦，Ethan 開拍啦。」

“Hi, I'm Ethan Van der Ryn.”

「大家好，我是 Ethan Van der Ryn。」

“My name is Erik Aadahl.

「我的名字是 Erik Aadahl。」

I'm one of the supervising sound editor-…

「我是音效監督之一。」

…sound designers on 'A Quiet Place.'"

《噤界》的音效設計

Through my friend, Michael Coleman over at SoundWorks Collection,

透過我在 SoundWorks Collection 的朋友 Michael Coleman

I actually had a chance to visit the Warner Brothers lot

我有機會拜訪華納兄弟的現場

and sit down with Ethan and Erik to discuss the sound design process.

並且坐下來與 Ethan 和 Erik 討論處理音效的過程

So today, I'll be asking for their input

所以，今天我們會問他們對電影的貢獻

as we look at the ways sound can be used to affect the emotion of a story…

我們來看聲音對故事情緒的影響力

Why thinking about sound during the screenwriting stage is so important...

為什麼在編寫劇本的階段，音效就已經如此重要

And how contrast and dynamics can make or break a film.

以及它在電影製作及突破的過程中，如何去對比或使之生動

Let's take a listen to “A Quiet Place.”

讓我們聽一下《噤界》

In his book, “Screenplay,” Syd Field says of writing sound into a script...

在他的書《劇本》，當 Syd Field 寫到如何把聲音寫進劇本裡…

...almost nothing.

幾乎不需要做任何事

He all but dismisses it as something that will be added after the movie is finished.

他全部結論說，音效是電影完成後再加進去的東西

In fact, most screenwriting material has very little to say on the subject of sound.

事實上，大部分的劇本很少會提到音效

So when Scott Beck and Bryan Woods set out to start writing “A Quiet Place,”

所以，當 Scott Beck 和 Bryan Woods 開始寫《噤界》的劇本時

they knew they had a challenging and unusual task ahead of them.

他們知道，他們有個極具挑戰性且不尋常的任務在他們眼前

In a blog the duo wrote for Indiewire, they said of the process:

他們倆在 Indiewire 上寫的一篇部落格，提到他們的製作過程：

“Writing a silent movie isn't easy.

「寫一部默片不容易

You can't use dialogue as a crutch.

你沒辦法用對白來當作輔助。」

And you can't bore the reader with blocks of description…

「你也不能給讀者一堆描述，

This process forced us to take an unorthodox approach to screenwriting,

這過程使我們專注於使用非傳統方式寫劇本

in which we threw formatting styles to the wind.”

我們把所謂的形式拋出腦後。」

In a normal screenplay, sound is often just written plainly in the action lines,

在平常的劇本裡，音效時常清楚地被寫在動作的標題裡

or sometimes it may be in all caps.

或者，有時候會全部大寫

But one glance at the original script for “A Quiet Place” immediately shows

但是，一瞥《噤界》的原創劇本，我們馬上可以看到

how far Beck and Woods took their experimental formatting,

Beck 和 Woods 採用了他們實驗性質的格式

which includes handwritten words, pictures of props,

這包括了手寫字、道具的圖片

and even charts and facts which may be fun for the reader

甚至圖表與些論證去引起讀者興趣

but are pretty useless to a filmmaker.

但是，這些對於電影人挺沒用的

This screenplay breaks almost all the formatting rules,

這劇本打破了幾乎所有格式的規則

but I will admit that the stylized nature is particularly effective

但是，我得承認，這個風格對於它對音效的演藝

in its representation of sound.

相當有效

Looking at the first two pages,

看前兩頁

certain words are underlined to draw focus to the silence of the environment.

特定幾個字畫了底線，去強調出環境的寧靜

These underlined words stand out and give us a clear sense

這些畫了底線的字特別突出，也給我們一個清楚的理解

that silence plays an important role in this family's life.

在這個家庭的生活裡，沉默是個很重要的元素

Similarly, Beck and Woods play with caps, font size, and word placement

Beck 和 Woods 使用大小寫、字體大小和字的配置

to communicate silence, tension, and pacing.

去傳達沉默、張力以及步調

In an especially tense moment, as the monster stands between the father and his family,

尤其是在緊張的時刻，當怪物站在父親與他的家人之間

the script goes so far as to limit each page to a few words.

劇本甚至將每頁字數限制在幾個字

With each page the font size increases, highlighting the tension and need for absolute silence.

而每一頁，字體變大，強調劇情的緊張感以及絕對寂靜的迫切感

Ethan: “I love it when there's sound directions written into the script.

Ethan ：「我喜歡當我們將聲音的出處寫進劇本裡

I think that it's so important for screenwriters when they're when they're writing

我認為在編劇寫作的時候，這是很重要的

to actually be thinking about what is happening sonically in the world,

他們可以認真地去思考，這個世界從聽覺上來說，正在發生什麼事

because it's a big part of the storytelling.”

因為這對於講故事來說，是個很重要的環節。」

In many ways sound is one of the most under-appreciated

在許多方面，音效是其中一個最被低估

and under-utilized storytelling tools.

最少被充分利用的說故事工具

Erik: “We experience movies with two senses: our sight and our hearing.

Erik：「我們觀影的時候，主要用兩種感官：我們的視覺與聽覺

I believe strongly that the hearing part of it is half of the experience.”

我強烈地認為，聽到故事只是半個體驗。」

We tend not to notice how important sound is until it's absent,

直到聲音消失了，我們才會注意到它有多重要

and it's precisely because it affects us in this unconscious way that it is so powerful.

這正是因為它下意識的影響了我們，所以它才能極具影響力

Erik: “Walter Murch had this great saying, he said:

Erik：「Walter Murch 有說過一句名言，他說：

'Images come in through the front door but sound comes in through the back door.'

「『圖像從前門進來，但是聲音從後門進來』

So you can be a lot sneakier with manipulation."

所以，你在操弄的時候，可以悄悄地用。」

(creature sound)

(怪物的聲音)

Erik: "You can dig into that reptilian part of the human senses

「你可以探索人類潛伏的知覺

and in a way with sound become kind of in a puppet master of emotions.”

某種意義上來說，音效成為了情緒的魁儡大師。」

When writing, one of the most important goals

當寫作時，其中一個重要的目標是

is to make the audience empathize with your characters,

讓觀眾對你的腳色感到同情

and the same is true of the the sound design process.

音效的設計過程也是同樣的道理

Ethan: “Within every storytelling process there's going to be moments

Ethan：「在說故事的過程中，會有些時刻

where we want to experience what the characters are experiencing in a visceral way

我們會希望發自內心的體會到角色的經歷

and I think sound is really one of the key tools that we have as filmmakers

而我認為音效是身為電影人製作這種體驗的

to help create that experience.”

其中一個重要工具。」

An example of this is found in the original screenplay for “A Quiet Place.”

我們可以在《噤界》的原創劇本中找到例子

There is a moment that is written in such a way

有一段是這樣寫的

that the reader perceives the action from a single characters perspective because the sound.

藉由音效，讀者可以從單一角色的視角去查覺到她的動作

“Exterior: woods.

外景，森林

Path, afternoon.

路上，下午

April gets very still.

April 變得非常安靜

She turns up the volume on her hearing aid.

她將助聽器的聲音調大

Just faintly, through the high frequency static, we hear the baby crying in the distance.

微弱地，透過高頻率，我們可以聽到寶寶在遠處哭

April stifles her breathing.

April 止住自己的呼吸

The sound of something else continues breathing behind her.

有別的東西持續在她身後呼吸

Out of focus, just ten feet away, we see it move slowly towards the sounds.”

焦點外，只在十呎的距離，我們可以看到牠慢慢地接近音源

Writing the moment this way makes the audience experience the story events

透過這樣的寫作方式，我們可以讓觀眾透過腳色的視角

through the point of view of the character,

體會到故事

and this technique was utilized several times in the final film.

而這個技巧多次運用在最後的電影成品裡

(heartbeat)

(心跳聲)

Erik: “There's a number of different sonic points of view in the film from the creatures

Erik：「電影裡有許多不同的聲音視角，從怪獸的

and the family members…”

到家庭成員的...」

(monster's perspective of clock ticking)

(怪獸視角聽到的時鐘滴答聲)

Erik: “One of the central ones for us, design-wise, was for the daughter

Erik：「對我們而言，其中一個設計中心是

Regan played by Millicent Simmonds,

由 Millicent Simmonds 扮演的女兒 Regan

who, in real life she's deaf.

在現實生活是聾的

And in the film her character is deaf as well.

在電影裡，她的角色也是聾的

So for a film that is so much about sound,

所以，電影大部分是關於音效

we felt it was really important to right from the beginning sequence

我們認為在開頭場景讓觀眾以她的立場去思考是很重要的

put the audience into her shoes and what it's like to live with a cochlear implant.”

去體驗聽覺上的障礙的生活是如何。」

(toy beeping)

(玩具聲響)

Erik: “So we get these shifts in the sound..."

「所以，我們做了這樣的音效轉變...」

(toy beeping)

(玩具聲響)

(sound cuts out)

(音效被切斷)

"...that I think helped connect the audience to her character.”

「我們認為這樣幫助觀眾聯繫到她的角色。」

(silence)

(寂靜)

Experiencing the film from the sonic perspective of Regan

從 Regan 聽覺上的角度去觀影

helps the audience empathize with her character,

幫助觀眾對她的腳色感到同情

but it's also the fact that these shifts are so stark that helps make them so powerful.

但，也是因為這些改變如此明顯，所以幫助這些情緒變得如此強烈

Erik: “We wanted to do really nice, hard cuts into it.

Erik：「我們真的想要做得很完美，我們硬切進來

So you could really feel the shift of contrast between:

所以，你能真的感受到這些對比之下的改變

'here's atmospheric sounds that the other characters would be hearing, and woosh—

這裡有其他腳色聽到的環境的聲音，然後咻—

now we go into her head and there's this sort of low tone going under it.' ”

現在，我們在他的視角裡，只有低音調。」

This underscores the idea

這強調了下面這個點子

that whether you're designing the sound for a film, or the plot of a film,

不論你要為電影設計音效，或是設計電影的劇情

it's important to remember the need for dynamics.

你必須記得，不斷變化的重要性

When Beck and Woods began working on “A Quiet Place,”

當 Beck 和 Woods 開始著手於《噤界》時

it didn't take them long to realize it couldn't just be a movie devoid of sound.

他們馬上就察覺到，這不能只是一部沒有聲音的電影

Scott Beck said of the process,

Scott Beck 在製作過程中說

“You had to figure out the pacing,

「你得想清楚步調

because you couldn't constantly have silence permeate the entire film.

因為你不能總是讓整部電影都沉浸在寂靜裡

You had to envision where there might be sound design moments."

你得去設想哪些地方需要有音效設計。」

But why?

但是，為什麼？

Why was that such a crucial part of the development of the story?

為什麼這是設計故事的一個重要環節？

Ethan: “Imagine a wavelength, of little difference between the top amplitude and the

Ethan：「想像一個聲波，在波峰與波谷之間

lowest amplitude.

「若有著極小的差異」

Everything starts to flatten out,

所有的事物開始變平

and what that does is it starts to flatten the experience out for the audience.

而它會使觀眾的感受開始變得平淡

You start to disengage, and you push back from the screen,

你開始脫離，並開始從螢幕推離

and you push back from the experience.”

而你也從這些感受退開來。」

If every sound in a movie was played at a loud volume from beginning to end,

如果一部電影裡，從頭到尾，每個音效都是最大聲的

not only would it be really annoying,

它不但相當擾人

it would prevent any particular loud moment from being impactful.

也會是某些特定較為喧囂的場景變得沒那麼有影響力

So in “A Quiet Place,” the sound is designed to be dynamic.

所以，在《噤界》裡，聲音是需要被設計的很動態的

Sequences often begin at a low volume, and increase over time.

場景大部分被安排一開始為低音量的，而持續變大

(yell)

(大喊)

What's important to note is that this mirrors the plot design of these sequences as well.

很重要的一點是，這也反映了後續的劇情設計

As tension builds, the sound builds...

當緊張感逐漸上升，聲音也開始變大

...until they both reach the climactic breaking point...

直到兩個抵達臨界點

(screaming / explosions)

(尖叫／炮炸聲)

But even then, neither the plot or sound stays at 100% for long…

即使如此，劇情或是聲音都不會一直保持這樣

(explosions trail off)

(爆炸聲變小)

as the volume drops low again as the tension is reset.

當聲音再次變小，緊張感也重製了

This dynamic flow can play out not only over the course of an entire sequence,

這個改變不只完整地運用在整個場景裡

but within a few moments of a scene.

也可以出現在某個場景裡的片段

Erik: “My favorite moment there is at the very end of the film where

Erik：「我最喜歡的片段是在電影最後

the two kids are in this pickup truck.

兩個孩子在卡車裡

Regan's hearing aids starts 'fritzing' and she switches it off.

Regan 的助聽器開始發出雜音，她便把它關掉

Complete digital silence.

這時，是全然的安靜

She's looking at her brother, who's looking past her,

她看著他的弟弟，而他看著她身後

and his face just blossoms into this look of sheer terror…

而他的臉轉而純粹的恐懼

(crash / snarling)

(破碎聲／吼叫聲)

…and that counterpoint—having this incredible performance, this really intense situation,

而在這個節點上—有這驚人的演技在這極度緊張的情況下

but just nothing supporting you, sound-wise it's just…

沒有任何東西可以協助你，從聲音上考慮…

silence.

只有寂靜。」

To me, that's like the most terrifying thing I've ever experienced.

「對我來說，這可能是一個人經歷過最可怕的事

So that was really fun.”

所以，製作這的過程相當有趣。」

This is a good reminder that sometimes silence is the best way to create suspense,

這也是個很好的提示，告訴我們，有時沉默是創造懸疑的最好方式

but after a long period of tension,

但是，在一段緊張感過後

it's good to give the audience some catharsis before they're ready for more.

你最好給觀眾一些宣洩，直到他們可以更進一步

(muffled hoot)

(低沉的叫聲)

Erik: “I think the best movies are scripted with sound in mind.

Erik：「我認為最好的電影，是心中惦記著把聲音寫進劇本

If you can build sound into the into the DNA of your script

如果你能把聲音設計進你劇本的核心中

then you're just gonna have a better movie every time.”

那你每次都能寫出更好的電影。」

Scott Beck and Bryan Woods's unconventional approach to screenwriting

Scott Beck 和 Bryan Wood 這非傳統的編劇方式

may not supplant the decades-old formatting we're used to,

可能無法取代我們世紀以來使用的格式

but it is a good example of what storytellers can do

但是，它是個很好的例子去佐證

when they appreciate the importance of sound.

若說故事人欣賞了音效的重要性，還能如何創作

It can connect us to a character in an emotional way,

它能使我們與腳色連結在更為私人的感情面上

making us immediately empathize with their situation.

讓我們立即對他們的情況感到同情

And just like any element of filmmaking,

而，就像任何一個拍片的元素

sound is most effective when it's utilized in dynamic ways to create moments of contrast.

若動態的運用音效，它能更為有效的去創造反差的場景

(clanging)

(鏗鏘聲)

And it underscores the power of dynamics—

它強調了不斷改變的影響力

reminding us that the plot of a film should flow between emotional states,

提醒了我們劇情該隨著情緒狀態起伏

and that the loudest sound can only come

最大的聲音只能從

from a quiet place.

最安靜的地方創造出來

When I sit down to watch a movie,

當我坐下來看電影時

it's often hard to turn off the analytical part of my brain and just enjoy it.

我常常沒辦法將分析的心思給隔絕掉，去純粹享受它

But when I listen to a story,

但是，當我說聽一個故事時

the emotion bypasses my conscious self and is often a much more moving experience.

情緒繞過我的自我感知，我常常能更被這體驗感動到

Which is why I love listening to Audible.

這就是為何我喜歡 Audible

Audible has the largest selection of audiobooks on the planet,

Audible 有世界上最多的有聲書

and since I just released a video on No Country for Old Men,

而我剛釋出了《險路勿近》的影片

I think its the perfect time to recommend checking out the book.

我覺得這是個絕佳的時機去推薦這本書

While the film is fantastic for many reasons,

雖然電影有自己精彩的理由

the amazing story all came from Cormac McCarthy's book.

但這精采的故事全來自於 Cormac McCarthy 的書

And you can get the audiobook for No Country for Old Men for free

而且你可以拿到免費的 《險路勿近》 有聲書

when you start a thirty-day trial by going to audible.com/lfts

免費的三十天試用 audible.com/lfts

or texting “lfts” to 500500.

傳訊息「lfts」到 500500

Once again that's audible.com/lfts or text “lfts” to 500500

再說一次，是 audible.com/lfts 或傳訊息「lfts」到 500500

to start a thirty-day free trial.

去開始免費的三十天試用

Thanks to Audible for sponsoring this video.

謝謝 Audible 贊助這影片

Hey guys, hope you enjoyed the video.

大夥兒，希望你們喜歡這部影片

I want to say a big thank you to Ethan and Erik for taking time out of their very busy

我想大大感謝 Ethan 和 Erik 從他們忙碌的行程中撥空

schedules to talk about the importance of sound.

跟我們解釋音效的重要性

I also want to thank my friend Michael Coleman for connecting me with Ethan and Erik.

我也想感謝我的朋友 Michael Coleman 幫我介紹 Ethan 和 Erik

If you want to learn more about sound for film, you should definitely check out this

如果你想學到更多關於電影音效的事，你該看看這個網站

website, soundworkscollection.com.

soundworkscollection.com

He has a ton of awesome blog articles, and an audio podcast, and video profiles—

他有一堆很棒的網誌以及有聲播客和影片檔案

all filled with great information about sound for film.

它們全都是很棒的電影音效資訊

Thank you, as always to my patrons on Patreon and supporters here on YouTube

一如往常的，謝謝我在 Patreon 上的贊助商 以及 YouTube 的支持者

for making this channel possible.

你們讓這個頻道得以成功

If you enjoyed the interviews consider supporting the channel on Patreon so I can do more,

如果你喜歡這個訪談，考慮在 Patreon 上幫助我們去做更多

and as extra content, I'll be sharing the full interview with Ethan and Erik

作為額外內容，我會分享與 Ethan 與 Erik 的完整訪談

with all my supporters and patrons.

給所有的贊助人與支持者