The other day, someone asked me to describe my editing process

有一天，有人要我描述自己的剪輯過程

So I started talking about organizing footage and doing selects

於是我從如何整理及挑選素材開始說起

And she said, "No, your actual process; like, how do you know when to cut?"

結果他說:「不不，我是指你真正的剪輯過程，像是你怎麼知道影片什麼時候該停?」

And I couldn't describe it at all!

然而我一時之間不知從何說起

Like a lot of editors, I cut based on instinct

就像大多數的剪輯師一樣，我靠著直覺在剪輯的

(Kahn) "Nothing gets in the way of the editing process...

你沒辦法從剪輯的過程中獲得什麼

It's the process of your thinking.

剪輯過程其實就是你的思考方式

I don't cut from what I call 'knowledge'.

你沒辦法用你的「知識」去做剪輯

I have to come into it and I have to feel it."

我必須全神貫注的去感受剪輯的過程

It's the same way for me. I have to think and feel my way through the edit

而我也是如此。我必須靠剪輯來了解自己如何思考和感受

So today, I'd like to talk about that process:

所以今天，我想來談談剪輯的過程

How does an editor think and feel?

一位剪輯師如何思考和感受呢?

The first thing you need to know is that editing is all about the eyes

第一件你需要知道的剪輯重點是關於，「眼睛」

More than any other factor, the eyes tell you the emotion of the scene

相較於其他元素，「眼睛」在畫面中透露了更多的情緒

And the great actors understand that they

而厲害的演員了解到如何運用他們的眼神

Convey more through their eyes than through dialogue

去傳達的比台詞本身更多的情緒及資訊

(Caine) "I said, 'Well, I haven't got anything to say,'

「我說 : 我無話可說了」

So he said, 'What do you mean you haven't got anything to say?'

然後他問我 :「你無話可說的意思是什麼 ?」

He says 'Of course you've got things to say! You've got wonderful things to say!

他 :「你當然知道該說什麼啊 ! 你有很多很棒的台詞可以說啊 !」

But you sit there and listen, think of these extraordinary things to say...

我:「你才給我坐好仔細聽，想想怎麼用特別的方式去呈現」

"Elliot, sweetheart!" "Mhm?"

「Elliot，甜心」 「嗯?」

"Have you tried these? These are wonderful!"

「你有吃過這個嗎 ? 這個超好吃的 !」

...and then decide not to say them! (Laughter)

然後，我決定什麼台詞都不說

That's what you're doing!'"

那才是你該做的 !

And when I'm watching footage, this is what I'm looking for:

而當我在看電影的每一顆鏡頭，這才是我在尋找的

Moments where I can see a change in the actor's eyes

也就是當我看見演員改變了他們的眼神

Like when he's making a decision

像是當他正在做一個決定

Shots like these are powerful because they work so well with other shots

像這樣的鏡頭非常的有張力，因為他們與每一顆鏡頭間都非常融合

For instance, when we cut from his eyes to what he's looking at

例如:當畫面切到他的眼睛在看其他地方

It tells us, without words, what he's thinking

不需要文字我們也能得知他在想什麼

The next concept was really hard for me to learn:

下一個概念對我而言也非常的困難

Emotions take time

「情緒需要時間」

When we watch people on screen, we feel a connection to them

當我們看到螢幕上的人們，我們能得知他的感受

And that's because we have time to watch their faces before they speak

因為我們擁有時間在他們開口前，觀察到他們的臉部

(Speaking Chinese)

「好，那我不打擾你了」

(Door shuts)

(關門)

And time to watch them afterwards

我們來看看接下來發生什麼事

Editors have to decide: "How much time do I give this emotion?"

剪輯師必須決定「一個情緒需要給它多少的時間」

So let's try an exercise: look at this shot

我們來練習看看，請觀察這顆鏡頭

What do you feel while watching this?

你看的時候有什麼感覺呢?

Now let's try it again

現在，我們再來試一次看看

What do you feel while watching this?

這顆鏡頭的感受呢?

Was it a different emotion?

他們的情緒相同嗎?

Editing is full of decisions like these,

剪輯的過程充滿著這類的題目

Where four seconds makes a big difference

差了4秒的鏡頭，感受卻有很大的不同

And these choices are difficult. There are no right answers

然而這些剪輯的決定非常困難，因為他沒有正確答案

Some emotions play better if you see them in a single, continuous shot

像有些情緒適合一鏡到底

(Speaking Chinese)

「現在想起來也開心，你說是吧」

But other emotions play better over multiple shots,

「是阿」「過來坐一下」

So you can build up and come down

但有些情續用多組的鏡頭剪輯更適當

Consider this scene, where Luke Skywalker tests his skill

利用多組鏡頭來堆疊或放慢

(Breathes out)

思考這個星際大戰中的片段，路克正嘗試使用原力

To make this simpler, let's just focus on how long each shot is held for

(吐氣)

Notice that as we build, each shot gets shorter and shorter towards the climax

用更簡單的方式，我們只看它每顆鏡頭花了多少時間

(Inspirational music playing)

注意到它是怎麼構成的，鏡頭越到高峰則會越來越短

(R2 beeps)

3秒6幀

But after five shots, we hit the peak and start coming down

1秒23幀

(Yoda sighs softly, sadly)

但當五顆鏡頭達到高峰過後，則又開始放慢速度

Not only are the shots getting longer again, they're actually held for longer

(尤達失望的嘆氣)

than they were the first time

高峰後不單純只是放慢，甚至比剛一開始的鏡頭

And this whole sequence spends about 15 seconds going up, but twice that amount

還要慢上許多

coming down, so that we, the audience, have time to feel Luke's failure

達到高潮總共花了15秒左右，而高峰後的過程

(Breathing heavily) "I can't, it's too big."

花了多兩倍的時間，這讓觀眾能跟著路克感受從嘗試到失敗的過程

But what happens if you shorten this timing?

「我辦不到，這物體太重了」

Let's take a look at a very similar scene, done more recently

但假如我們把這過程的時間再縮短會如何?

See if you can feel the difference

我們來看看跟這個片段類似的情節

(Hank) You can do it Scott, come on!

看看是否有不同的感受

(Ant laughs)

「你可以做到的 Scott，加油啊!」

(Scott) They're not listening to me!

(螞蟻飛走)

Did you believe that emotion?

「他們不聽我的話」

Because in this scene, Scott's failure took 30 frames

你信服這段的情緒嗎?

By comparison, Luke Skywalker's failure

這個片段用了30幀來傳達主角的失敗

Took 30 seconds

相較於上一段路克的失敗

People aren't machines,

用了30秒來傳達

We need time to feel the emotion,

觀眾不是機器

And if the movie doesn't give it to us...

我們需要時間來感受情緒

We don't believe it.

假如電影給我們的時間不夠多

(Schoonmaker) "And I'm finding in movies, recently, that I've seen,

我們也無法感同深受

A lot of things I don't believe.

「我發現近幾年的電影中」

I think people are sticking stuff out there

「有很多地方都讓我無法信服」

And asking you to believe it,

「影片裡面的人就粘在那邊」

But they're not making you believe it."

「然後就要求你相信他們這段演出」

And making it believable is really hard.

「並不是真的讓你相信這些情緒」

(Man) "Let Red go."

我認為要讓影片使人可信是很有難度的

Because timing is not a conscious process,

「放他走」

You're just responding to the fact

因為時間的流逝是無感的

That every shot has a natural rhythm

事實上

(Three gunshots)

每顆鏡頭都有它自然的節奏

(Wood breaking)

(槍聲)

(Murch) "There's an in-built relationship between the story itself and

(倒下)

How to tell a story, and the rhythm with which you tell it,

「每個故事角色本身都有相互的關係」

And editing is...

「如何把這關係帶出，『節奏』是其中的關鍵」

70% about rhythm."

「剪輯其實就是...」

(Man yelling at woman)

「70%的節奏感」

Sometimes the rhythm is obvious,

(Tampopo 1985)

Like when the actor is doing something really physical

有時候節奏非常的明顯

(Music intensifying)

像是角色不斷的重覆做機械式的動作

But other times it's quite subtle

(音樂越來越高昂)

For instance, the rhythm of people walking back and forth

但在平時，節奏是很細微的存在

Or the rhythm of a restaurant, with cooks, customers, waitresses...

例如，人來人往的人潮的節奏

These rhythms are closer to what we feel in everyday life,

或是一間餐廳裡，有人煮飯，有客人和服務生的時候

And, I actually think they're harder to edit

這些鏡頭都很像我們平時的生活的節奏

But if you watch anything over and over again, you eventually feel the moment

而像這樣的素材要剪輯是很困難的

When the shot wants you to cut

但如果你不斷的重覆的觀察，最終會感受到

Classical Hollywood editing is all about cutting with the rhythm

你應該要把鏡頭停在哪一刻

And this is what we mean when we say that editing is invisible

精典的好萊塢剪輯法正是關於節奏

The cut happens so naturally

這正是所謂的「無形的剪輯」

(Man) "Now is there anything else you'd like to know about me?"

剪輯的斷點是如此自然

That you don't notice it.

「你現在都沒有想問我的地方嗎?」

(Man) "Would you like to go over to my room?"

你不會注意到

But you don't always have to be invisible

「你願意到我的房間嗎?」

Some emotions play better if you cut in a jarring way,

但你不必每次都要無形的剪輯

Like if someone is agitated

有時情緒更適合用引人注意的方式表達

(Heels clicking on floor)

像是角色感到焦躁不安時

And other moments play better

.

If you actually cut to make the audience uncomfortable.

在某些情況下

(Water sizzling)

用令人不安的方式剪輯效果更好

(Schoonmaker) "One of the things Marty's always encouraged us to do is to

.

Sometimes hold just a little bit too long...

「Marty總是鼓勵我們這樣剪輯:」

(Water sizzling)

「有時刻意把鏡頭剪得稍微長一點」

And then make a cut, if it's justified."

.

What really matters is, what reaction you want from people

「然後再把它修飾成剛剛好」

(Two gunshots)

真正重要的是，你希望觀眾有所反應

Because sometimes, you can only get that with an unusual cut

(槍聲)

And that brings me to my last point:

因為有時，你只能用獨特的剪輯方式得到觀眾的注意

If editing is so instinctive, how do you learn it?

讓我來講述最後一點

I only know one way:

假如剪輯是如此依賴直覺的，那該怎麼學習?

Practice.

我只知道這個方法:

(Murch) "And editing is very similar to dance in that way,

練習

You can explain the rudiments of dance,

「學剪輯就像是在學跳舞」

But to really learn how to dance, you have to dance."

「你可以解釋如何跳舞」

You have to cut.

「但你真的要學會跳舞，你就必須親自去跳」

And as you cut, you'll develop a sense of rhythm and emotion

你必須親手剪輯

That's unique to you.

當你不斷的剪輯，對於節奏和情感的感知就會增強

I've been doing it for ten years and I'm still not there

這也會是使你與眾不同的地方

But whenever I'm frustrated by an edit, I think about something Michael Khan said

我已經剪輯了10年了但仍然在練習

(Khan) "The beautiful thing about editing is,

每當我剪輯上遇到挫折，我就會想起 Michael Khan所說的:

I guess maybe writers feel that way,

「剪輯中最漂亮的地方在於」

I see all that film up there, doesn't matter, I'm doing one piece at a time

「我想也許作家有這樣的感覺」

One scene at a time, one cut at a time.

「我看到了所有的畫面，但沒有關係，我只一次做一件事」

And there's a lot of film, I just do one thing at a time."

「一次一顆鏡頭，一次做一個剪輯」

So take it one shot at a time,

「即使我有很多畫面，我一次只做一件事」

Because if you watch any image,

所以請一次想著一顆鏡頭就好

(Man) "You really care?"

因為當你看任何畫面

You'll see it has an emotion and a rhythm

「你真的在意嗎 ?」

(Woman sniffing and breathing heavy)

你會看到裡面有情緒和節奏

And you have to feel...

.

When...

然後你必須去感受...

To...

什麼時候...

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要...