Name: 權力遊戲-如何喚起情緒 (Game of Thrones - How to Evoke Emotion)
Uploaded: 2019-02-13T05:12:07.000Z
Duration: 11 min 9 s

And this episode of Lessons from the Screenplay
has been brought to you by Squarespace.

基礎被動語態

It would be easy to think that a complex story
like Game of Thrones is told in a complex way,

我們很容易就會認為像《權力遊戲》這種具有複雜故事的影集

Because of the vast number of characters,
locations, and storylines,

each scene must lean heavily on the basic
fundamentals of storytelling.

因為劇裡擁有數量眾多的角色、地點及故事情節

Why is it that an intimate dialogue scene
can be built on the same rules

每個場景都必須依據說書的基礎來說故事

as one of the most epic battles ever created
for television?

And how does occasionally breaking these rules
keep the show gripping and unpredictable?

為什麼能夠運用同樣的一套規則來呈現一段親密對話

Today I want to look at how a scene is constructed.

和一場電視節目中最具史詩般的戰爭

To show why it's important that a narrative
constantly transition between opposite emotions.

又為什麼不時的打破常規能夠抓住觀眾的注意力

And examine how The Battle of the Bastards
uses the audience's knowledge of how stories

今天我想要討論場景是如何構建的

來看看為什麼故事中不斷的情緒起伏轉變很關鍵且重要

及檢視在《私生子之戰》一集中

Some scenes are a single, brief shot, others
are tens of minutes long.

others weave together events across various times and places.

So rather than defining a scene by its externalities,
it's best to define it by its internal elements.

有些場景僅有簡短的一個鏡頭，有的長自數十分鐘

"No matter locations or length, a scene is
unified around

有的則是由多個不同時間與地點的事件交錯而成

So let's look at how these four elements
are used to create the structure of a scene.

所以與其憑著這些看得見的外在因素來猜測

In the fourth episode of season six, Jon Snow
and Sansa Stark are finally reunited.

不如以那些看不見的內部因素來定義場景吧

And their first dialogue scene together begins with what I like to call,

勞勃麥基在《故事的解剖》寫到

「場景就像一個縮小版的故事‧‧‧‧‧‧

"Do you remember those kidney pies Old Nan
used to make?"

場景必須將慾望、行動、衝突和變化加以整合。」

所以讓我們來看看是如何使用這四種要素

The writers use this section for Jon Snow and Sansa
to reminisce and reconnect.

瓊恩雪諾 與 珊莎史塔克 重聚時

Then, the desire that drives the scene comes
in to play.

我會將他們倆見面時的對話稱作為一個

「還記得老奶奶做的腰子派嗎？」

Sansa wants Jon to help her reclaim Winterfell,

so she takes the action of directly trying to convince him.

You think they'll be safe here if Roose
Bolton remains Warden of the North?"

其中一個要素「慾望」開始在這裡出現

珊莎希望瓊恩幫助她一起拿回臨東城

所以她「行動」，嘗試想說服琼恩

Finally, the scene ends with Sansa's most
powerful argument yet.

「他們不是為了我賣命才來這的」

「你認為要是拉姆斯波頓一直擁有北境的話

With this statement, change has been brought
to the story.

Sansa's intentions are clear and there is
a new trajectory for the narrative.

But this change isn't just about creating
a new direction for the plot.

For it to be compelling, a scene has to have
a transition of emotional values.

"The understanding of how we create the audience's
emotional experience

begins with the realization that there are
only two emotions—pleasure and pain.”

McKee assigns these emotions values: pleasure
being positive and pain being negative.

在這個場景的最後，珊莎以強而有力的台詞結束

“As audience, we experience an emotion when
the telling takes us

「如果沒辦法的話，我自己一個人也得去」

This is why some of the most memorable scenes in Game of Thrones

are when things go from hopeless to victorious...

珊莎的目的很明確，也確實讓故事有了新的走向

但是像這樣的變化不僅僅只是和創造新的劇情有關

But while a single transition of values might
be enough to sustain

一個場景也必須要有具備「情緒轉變」

many more are needed for something as epic
as The Battle of the Bastards.

在《故事的解剖》中，勞勃麥基寫到‧‧‧‧‧‧

Despite its scale, this scene is based on
the same fundamentals as Jon and Sansa talking.

「要瞭解如何創造出給觀眾情緒上的體驗

In fact, the director of the episode, Miguel
Sapochnik,

必須先理解世上只有快樂和痛苦兩種情緒的說法

describes the battle in very intimate terms.

"I always thought of this as a...it's a bar brawl."

"It's: two guys in a pub get into a fight
and bring their mates."

Jon Snow's desire is to defeat Ramsay and
reclaim Winterfell.

The action he takes is going into battle.

「身為觀眾，當故事讓我們對劇情的價值觀產生變化時

The conflict is the clashing of the armies.

And the change comes when Jon—with critical
help from Sansa—

這也是為什麼有些《權力遊戲》的場景令人印象深刻

has taken Winterfell and defeated Ramsay.

劇情從看似毫無希望轉為勝利在望

But because the scene is twenty-three minutes
long,

it has to have multiple value transitions in order to remain exciting.

有的時候，一個3分鐘的對話場景只需要一個

Jon falls into Ramsay's trap when he tries
to save Rickon.

能夠讓觀眾對劇情的價值觀有所影響的地方就足夠了

This forces his army to attack prematurely.

很多時候則是需要像《私生子之戰》這麼的浩大

What's left of his army is surrounded and
faces certain demise.

Until they're rescued at the last moment,
freeing Jon to go defeat Ramsay.

這個場景也是運用與雪諾和珊莎對話場景相同的基礎

事實上，這集的導演 明格爾·薩普什尼克

"The thing that's going to take me through
the battle."

我一直都覺得這場戰爭很像在酒吧裡的鬥毆

"And what worked in Hardhome, and what I think
works in any battle, is following the characters."

兩個男人在酒吧裡起爭執還帶上自己的小弟

By following Jon Snow, the scene is made even
more compelling

瓊恩雪諾的「慾望」是擊敗 拉姆斯 然後拿回臨冬成

because within such a battle, a single soldier
can experience a ton of value transitions.

展開的「行動」是帶領軍隊上戰場

This is partially why the "oner" shot is so
gripping.

「衝突」是兩方之間的廝殺過程

The camera follows Jon as he encounters constant
and unpredictable value changes.

「轉變」則是瓊恩與神救援的珊莎

All of this demonstrates how critical it is
for a story to have an emotional ebb and flow.

最後擊倒拉姆斯且拿回臨冬城的時候

When the plot takes the audience through a
change in emotional values,

但因為這是一個長23分鐘的場景

we become engaged in the story and experience emotion.

需要有多個能轉變觀眾情緒的地方才能不冷場

But the filmmakers didn't just rely on the
plot to create these emotional transitions.

瓊恩因為嘗試救瑞肯而落入拉姆斯的陷阱

They managed to squeeze in even more by toying
with the audience's expectations.

First, it helps to understand that film is
a language.

最後遭到包圍也面臨死傷慘重的情況

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權力遊戲-如何喚起情緒 (Game of Thrones - How to Evoke Emotion)

episode

critical

demonstrate

pattern