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

這集的Lessons from the Screenplay

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

是由Squarespace所贊助

but in truth it's exactly the opposite.

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,

是以複雜的方式來呈現

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

但其實上卻是玩全相反

But what are these fundamentals?

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?

但這些基礎又是什麼？

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

且保有驚喜

are told against them.

今天我想要討論場景是如何構建的

Let's take a look at Game of Thrones.

來看看為什麼故事中不斷的情緒起伏轉變很關鍵且重要

A scene can be a bit tricky to define.

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.

是如何用觀眾對說書的了解

Some take place in a single location,

來玩弄他們的情緒

others weave together events across various times and places.

讓我們來看看《權力遊戲》

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

什麼是場景？

As Robert McKee writes in Story:

要定義一個場景很難

“A scene is a story in miniature…"

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

有些只在一個地方拍攝

desire, action, conflict, and change.”

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

an "expositional prologue."

「場景就像一個縮小版的故事‧‧‧‧‧‧

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

無論地點或長度如何

"With the peas and onions."

場景必須將慾望、行動、衝突和變化加以整合。」

"We never should have left Winterfell."

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.

來建立出一個場景的

"I was awful, just admit it."

在 第六季 第四集 中

"You were occasionally awful."

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

"There's only one place we can go."

「說明性的開場」

"Home."

「還記得老奶奶做的腰子派嗎？」

Sansa wants Jon to help her reclaim Winterfell,

「有豌豆和洋蔥的」

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

「我們不應該離開臨冬城的」

"I don't have an army."

作者利用這樣的台詞來讓兩人

"How many wildlings did you save?"

回憶過去美好也找回對方

"They didn't come here to serve me."

「我那時遭透了，老實說吧」

"They owe you their lives.

「確實有時還滿遭的」

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

"Sansa."

「我們只剩一個地方能去了」

"Winterfell is our home."

「家」

This leads to conflict.

珊莎希望瓊恩幫助她一起拿回臨東城

"It belongs to our family.

所以她「行動」，嘗試想說服琼恩

We have to fight for it."

「我沒有軍隊」

"I'm tired of fighting."

「你救了多少野人？」

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

「他們不是為了我賣命才來這的」

"I want you to help me."

「這是他們欠你的」

"But I'll do it myself if I have to."

「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.

他們還能夠安全的在這嗎

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

「珊莎」

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

「臨冬城是我們的家」

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

這些對話導致「衝突」的出現

In Story, Robert McKee writes…

「臨冬城是屬於我們家族的」

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

「我們必須為它而戰」

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

「我厭倦戰爭了」

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

And he goes on to say that...

「我要你幫助我」

“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」

through a transition of values.”

珊莎的這一句話

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

讓接下來的故事有了「變化」

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

...or from success to failure.

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

為了讓它更吸引人

a three-minute dialogue scene,

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.

麥基把這兩種情緒歸類

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

快樂為正面情緒

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

痛苦則為負面情緒

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

他繼續說

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.

我們就會有情緒的反應

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,

或是從看似成功轉為失敗

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.

無論規模多大

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

But the filmmakers didn't stop there.

事實上，這集的導演 明格爾·薩普什尼克

"I was looking for the thread."

就把它描述的很貼切

"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.

使得他的軍隊不得不提早進攻

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

Close-ups, Wide shots, rapid editing, long-takes, push-ins, pre-laps, subjective sound design...

直到最後一秒出現的救援化解了危機

...this is all vocabulary that has evolved over time.

也讓瓊恩能夠戰勝拉姆斯

And whether or not we're aware of it, we are all fluent in this language.

但是導演並沒有因此感到足夠

We can read a close-up of a lingering glance and get that it suggests romantic feelings.

「我在思要怎麼樣

We know that when the sound effects become muffled during a battle scene,

是什麼樣的東西可以帶我進入戰爭中

it doesn't mean all the soldiers have suddenly gotten really quiet,

什麼能夠用在艱難堡，或在任何戰爭中的東西

it means we're in a heightened version of a character's perspective.

就是跟著角色移動拍攝

And when the right music cue plays over the right edit,

藉由跟著瓊恩雪諾，畫面看起來更逼真更有吸引力

we know exactly what it means without a word being spoken.

因為在這樣一場戰爭中

There are three ways The Battle of the Bastards takes this knowledge of film language

一個士兵可以在經歷非常多的情緒轉變

and turns it against us.

這也是為什麼這種拍攝方式的畫面這麼讓人目不轉睛的

The first is how it uses its musical score.

鏡頭跟著瓊恩共同經歷不斷且無法預料的變化

There is a particular kind of score that has become associated with the tragic,

這些都說明了情緒起伏對故事的重要性

yet heroic death of a beloved character.

當劇情帶領我們經歷劇中的情緒轉變時

So this same kind of score is used during moments when Jon Snow is in danger,

我們便能夠更沉浸於故事並更深入體會

as a way of almost tricking us into thinking that he may actually die.

但是電影製作人並沒有全然依靠劇情來製造情緒轉變

Like when he's about to be overrun by Ramsay's charging army...

藉著「玩弄觀眾的對劇情的預期」，增添了額外的效果

And when he's being trampled by his own men.

首先，知道「電影即是一種語言」會讓你比較好理解

Another example of toying with our expectations involves what I call a "farewell scene."

特寫

Game of Thrones is not shy about killing its characters,

遠景

but first they're usually given a scene with a sense of closure

快速剪接

that ends on an abnormally positive note.

長鏡頭

"Don't you want to teach little Ned Stark how to ride horses?"

拉近

"I do."

聲音轉場

The night before the battle, Tormund and Davos have a conversation with a sense of closure

主觀聲音設計

that ends on an abnormally positive note.

這些都是經過演進變化而來的詞彙

"Maybe that was our mistake, believing in kings."

不管我們知不知道

"Jon Snow's not a king."

我們其實都很精通這個語言

"No, he's not."

我們能夠從一個角色戶看的徘徊特寫畫面中

This could easily be the farewell scene for these characters,

聞到浪漫的味道

especially since their exchange doesn't contain any relevant plot information.

我們知道當音效在戰爭場景中漸漸淡出時

And by including this scene, it signals to the audience on a meta level

並不代表所有人突然不出聲了

that it's possible for them to die,

而是我們進入了某個角色的思想中

making us more worried when they're in danger...

當對的背景音樂在對的時間點進入時

...and more relieved when they survive.

不需台詞，我們就能夠知道是什麼意思

But my favorite example of the episode toying with our expectations

《私生子之戰》就是利用了觀眾如此對電影語言的了解

happens just before the battle starts.

來三次得愚弄我們

"Let's play a game."

第一次是運用「音樂的呈現方式」

This sequence breaks “the rule of three.”

當我們聽到類似這種背景音樂時，通常都代表著

Three is the smallest number required to create a pattern,

觀眾喜愛的角色即將悲慘地犧牲

so it shows up frequently in both storytelling and in our everyday lives.

當瓊恩雪諾處於危險中時

Many popular sayings have three parts,

也用了同樣的手法

our stories have a beginning, middle, and end,

這差點就讓我們以為

and even lists of examples feel more balanced when delivered in threes.

他可能真的要死了

So if your villain is about to kill someone and you want to build suspense,

也就是在他準備要被拉姆斯的軍隊輾過時

he can't kill him with the first shot.

還有當他被他的士兵們踩輾的時候

Or the second…

另外一個玩弄我們預期的例子是在「告別場景」中

To break the pattern, he must kill him with third.

《權力遊戲》從不猶豫讓角色領便當

But he doesn't.

但通常要領便的角色都會先出現在一個

The director even has the music build in anticipation of this moment,

疑似要以好的結尾來收場的場景

preparing the audience for the third shot to strike its target.

「難道你不想要教小奈德史塔克如何騎馬嗎？」

And when it doesn't, we're left unsettled.

「我當然想」

What does this mean?

戰爭的前一晚

Maybe there is hope that Jon Snow can actually save him?

托蒙德與達沃斯的對話就有

Maybe Rickon will actually surv—

疑似要以好的結尾來收場的感覺

Rickon's death would have been emotional even if it was the third arrow that struck him.

「或許我們錯在相信那些國王」

But by breaking conventions,

「瓊恩雪諾不是國王」

and using the audience's knowledge of film language against them,

「是阿，他不是」

the filmmakers provide an extra moment of false hope.

我們很容易就會認為這些角色也可能要領便當了

One last transition of values.

特別是他們的談話內容與劇情並無相關

The Battle of the Bastards has all the fundamental elements of a good scene.

這樣一個場景的加入

It is jam-packed with transitions of values

讓觀眾有了

that ensure it's not simply a monotonous war scene.

要向這兩位角色說掰掰的心理準備

And it goes even further,

讓我們在看到他們有危險時，會更緊張擔心

toying with our expectations of how a scene should play out

看到他們還活著，會鬆一大口氣

so that we feel as hopeful, devasted, or worried as Jon Snow.

但是我最喜歡的例子

This demonstrates, once again,

是在戰爭開始之前

that how you tell your story is as important as the content within it.

「我們來玩個遊戲」

That mastering the basic rules can allow you to then break them with powerful results,

這裡的拍攝打破了「三法則」

furthering the evolution of film language in the process.

要形成一個規則性模式最少需要達到三個

And it shows how six seasons later,

「三法則」常出現在螢幕故事上和日常生活中

the audience can still be on the edge of their seat knowing that anything can happen

很多的諺語分為三個部分

in a game of thrones.

故事有開始、中間、結尾

While doing research for this video, I ended up finding a bunch of fascinating

甚至三個三個得列舉例子，感覺也較平衡

Game of Thrones fan sites.

所以當壞人準備要殺人時

Some about news, an interactive map of Westeros, even a blog for recipes inspired by the show.

為了堆疊緊張氣氛

Which got me thinking how much fun it would be to make my own Game of Thrones site.

他不能第一次就成功

If I did, I would absolutely use Squarespace

或是第二次

because it was so easy to build the Lessons from the Screenplay website

為了打破三法則

with their beautiful, award-winning set of templates.

第三次他必須射到他

Squarespace is an all-in-one platform with nothing to install or patch or upgrade... ever.

但他並沒有

It's perfect for your fan site, blog, or even for your business.

導演甚至也使用了背景音樂來輔助累績情緒

Visit squarespace.com/LFTS to save 10% on your first order.

讓觀眾誤以為他的第三支箭會射中

I hope you guys enjoyed this video.

所以當第三支箭沒中時，我們便會開始想

I want to say a big thank you to all my patrons on Patreon.

這代表什麼？

You guys keep this channel going, so thank you!

也許瓊恩有機會救到他

If you want to support this channel on Patreon you can by clicking on the link below

也許瑞肯不會‧‧‧‧‧‧

and you can like this channel on Facebook to make sure you never miss another video.

即使瑞肯是被第三支箭射中，我們依然會覺得難過

Thanks for watching.

但是藉著打破常規