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  • Hi, I'm Michael.

    嗨,我是Michael。

  • This is Lessons from the Screenplay.

    這是 Lessons from the Screenplay 的頻道。

  • A popular piece of advice for writers is towrite what you know.”

    有一個常提供給作家的建議就是

  • While I do think a story's emotional authenticity comes from the storyteller's own experience,

    『寫下你知道的』

  • I don't like the stagnation this phrase encourages.

    雖然我確實認為故事中的情感會顯得真實

  • Instead, I prefer: “write what you want to know.”

    常來自於講故事的人的親身經歷

  • Because, in many ways, a story is as much a journey for the person writing it as

    我卻不喜歡這句話所立下的限制

  • it is for the characters in it.

    相反的,我更喜歡

  • Such was the case for Pixar's "Inside Out."

    『寫下你想要知道的』

  • It took their team a lot of introspection to arrive at the emotional truth that is the

    因為,在很多方面

  • core of their story.

    故事對於一個創作者來說也是一段旅程

  • So today I want to look at the process of writing this film.

    就像故事中的人物一樣

  • To examine how creating some of its most powerful moments

    皮克斯動畫電影『腦筋急轉彎』就是很好的例子

  • required the writers to explore vulnerable places within their own psychology.

    他們的團隊花了很多心力去省視內心世界

  • And show how trying to answer a simple question can lead to the discovery of a creative premise

    以達到故事中的真實情感

  • and an emotionally honest theme.

    而這也是這部電影的核心

  • Let's take a look at "Inside Out."

    所以今天我想看一下這部電影的創作過程

  • In my previous video I talked about how character arc should be an expression of the story's theme.

    來研究為何創作出電影裡的感人時刻

  • But as a writer, how do you find the theme you want to explore?

    需要作家們探索自己內心脆弱的那一面

  • Often, it can help to think about it in the form of a question you want answered.

    並展示嘗試回答一個簡單的問題

  • For example, the question that led to "Inside Out" came when the film's director,

    如何能夠導致發現一個很有創造性的假設

  • Pete Docter, noticed something about his daughter.

    以及發現一個貼近真實情感的主軸

  • According to Meg LeFauve, who wrote "Inside Out" with Pete Docter:

    讓我們來看這部電影『腦筋急轉彎』

  • "The director, he had a daughter."

    在我之前的影片中

  • "And she was so happy all the time, and was so joyful."

    我探討了角色的發展弧線 為何應該是表達故事主軸的一部分

  • "And then she turned eleven."

    但作為一名作家,你如何找到你想要探索的主題

  • "And suddenly she was quiet and she wasn't smiling..."

    通常可以藉由 『你想要回答的問題形式』來幫助你思考

  • "And he sat at breakfast and he wondered, 'What happened to joy?'"

    例如,那個導致創作出『腦筋急轉彎』的問題

  • "And then he thought: I'm going to make a move about that."

    來自於導演 Pete Docter 注意到他女兒的一些改變

  • From this question, he came up with the idea of the story taking place in the mind of a young girl

    根據和導演一起寫出劇本的 Meg LeFauve 的說法

  • and having her emotions being characters in the film.

    『導演,他有一個女兒』

  • But asking the question is only the beginning.

    『她在生活中一直很開心,而且是太開心了』

  • The theme is expressed when you answer it.

    『然後她十一歲了』

  • To answer the question "What happened to joy?"

    『突然間,她變得很安靜,而且也少了笑容......』

  • they needed to figure out the protagonists's character arc,

    『導演他坐著吃早餐時他就納悶, “快樂發生了什麼事?“』

  • which required asking even more questions.

    『然後他想:我要為這個拍一部電影。』

  • "We always want to answer the same questions for any movie that we start."

    從這個問題出發 他創作出了一個發生在年輕女孩腦海裡的故事

  • "What does the character want?"

    並且讓她的各種情緒成為電影裡的角色

  • "What does the character need?"

    但問問題只是一個開始

  • They quickly decided that Joy's want is for Riley to be happy.

    當你回答問題時,你才展現了故事的主軸

  • But figuring out her need proved more difficult.

    要回答『快樂發生了什麼事?』這個問題

  • The writers realized that pairing her up with someone would help express her need, so they

    他們需要釐清主角的角色發展弧線

  • partnered Joy with Fear.

    但這需要提出更多問題

  • Joy: "Stop!"

    『對於任何電影的開始, 我們總是想要回答一樣的問題』

  • "You have caused enough trouble."

    『這個角色想要什麼?』

  • But the lessons she learned while on the journey with Fear didn't seem to answer the question.

    『這個角色需要什麼?』

  • "Pete Docter, the director, says that when he was an adolescent he was mostly afraid."

    他們很快就決定了『樂樂』這個角色 就是想要 『萊莉』能夠快樂

  • "So he wanted to explore fear."

    但弄清楚樂樂的需要,則比較困難

  • "But his problem was that when they got back up to headquarters,

    作家意識到將她和其他角色配對 能夠協助表達她真正需要什麼

  • he didn't know what he wanted to say about fear."

    所以,他們讓樂樂和驚驚搭檔

  • This is one of the many reasons the writing process is so difficult.

    樂樂:『停!』

  • This question came from Pete Docter's personal life,

    『你已經造成了很多麻煩。』

  • so I'm sure it seemed logical to try to answer it based on his own experience

    但是她在與驚驚搭檔的旅程中學到的經驗 似乎沒有回答到這個問題

  • growing up with fear.

    『導演 Pete 說,當他還是青春期的少年時, 他總是感到恐懼』

  • But sometimes the right answer requires uncomfortable self-reflection.

    『所以他想探索恐懼』

  • "Hi. Pete here.

    『但問題是,當他們回來總部討論劇本時』

  • I'm out walking in the woods because I'm stressed."

    『他不知道,關於恐懼他想說什麼。』

  • Realizing that the film wasn't working, Pete Docter took a walk in the woods,

    『這是為何創作過程如此艱難的眾多原因之一。』

  • allowed himself to be vulnerable,

    這個問題來自導演的個人生活

  • and started asking himself some questions.

    所以我確信一個合乎邏輯的方式是

  • "I started thinking, 'Ok, what if I lost everything.

    基於自己和恐懼一同成長的經驗來回答這個問題

  • What would mean something to me?'"

    但有時正確的答案需要令人不舒服的自我省視過程

  • "And like most of us, I think, the answer is relationships."

    『嗨!我是 Pete』

  • "The people that really mean something deeply are those that I have cried with,

    『我出來在樹林裡散步,因為我感到很有壓力。』

  • that I've been pissed off at, that I've experienced fear with."

    意識到這部電影沒有進展 於是 Pete Docter 到樹林裡散步

  • "It's all the aspects of emotions that bond us together."

    讓自己內心變得脆弱

  • And only then was he able to finally figure out the answer to his original question.

    並開始問自己一些問題

  • "So that gives me this idea."

    『我開始思考,好吧,如果我失去了一切會怎麼樣?』

  • "That maybe joy, as much as we all want it in our lives, is not the answer."

    『哪些東西對我來說是真正重要的?』

  • "The answer is actually sadness."

    『像大多數人一樣 我想答案就是和人之間的關係』

  • And now that he had the answer, Joy had a character arc and the film had a theme.

    『對我真正意義重大的人』

  • As much as Joy wants everything to be happy all the time, to have healthy relationships

    『是那些和我一起哭的人』

  • she needs to embrace sadness.

    『那些曾讓我生氣的人』

  • So how do you bring the audience along on this journey?

    『那些和我一同經歷恐懼的人』

  • The first step is to bring them into Joy's point of view.

    『是情緒的各種面向將我們連結在一起。』

  • In order for the audience to discover Sadness the same way that Joy does,

    只有到那時他才終於找到最初問題的答案

  • they have to be able to empathize with Joy's beliefs in the beginning to the story.

    『所以這給了我一個想法』

  • But there were two obstacles in the way of that.

    『那或許,快樂...』

  • The first was that Joy was a jerk.

    『雖然我們希望它在我們生活中越多越好』

  • JOY: "So weak."

    『但那不是答案』

  • "No way we're going to that!"

    『答案實際上是悲傷』

  • FEAR: "Joy."

    現在他得到了答案

  • JOY: "We should spit in that girl's face."

    樂樂有了明確的角色發展弧線

  • OTHERS: "Whoa!"

    電影也有了一個故事主軸

  • They originally made Joy angry and entitled, hoping that by giving her this flaw there

    儘管樂樂希望所有的一切都一直保持快樂

  • would be opportunities for humor.

    為了要有健康的人際關係

  • But she pretty much just came off as unlikeable.

    她需要擁抱悲傷

  • JOY: "Francis.

    那麼你如何引導觀眾 在這段旅程中走向這個答案?

  • That rat-faced creep."

    第一步是將它們帶進樂樂的視角

  • JOY: "We ought to break his legs."

    為了讓觀眾和樂樂一起發現最後的答案

  • OTHERS: "Whoa! Yikes!"

    他們必須在故事開始時 對樂樂所相信的事情有同感

  • But even after they toned that down,

    但這面臨了兩個障礙

  • they realized the audience might not immediately identify with Joy and her aversion to Sadness.

    第一個是:樂樂是一個混蛋

  • To solve this, they made Sadness as annoying as possible.

    樂樂:『這樣太弱了。』

  • "Sadness!

    樂樂:『我們絕對不能這樣做!』

  • You nearly touched a core memory.

    驚驚:『樂樂 ... 』

  • And when you touch them, we can't change them back!"

    樂樂:『我們應該朝那個女孩的臉上吐口水。』

  • "I keep making mistakes like that.

    其他所有人:『喂!!樂樂!!』

  • I'm awful…"

    他們最初設計樂樂容易生氣並且有控制的權力

  • "Nooo, you're not."

    希望藉由賦予她這個缺陷

  • "…and annoying."

    能夠在適當的時機穿插幽默的片段

  • "Welluh

    但卻讓樂樂成為了一個討厭鬼

  • "You know what? you can't focus on what's going wrong."

    樂樂:『弗朗西斯,那個長相陰險的小人』

  • "There's always a way to turn things around, to find the fun!"

    樂樂:『我們應該摔斷他的腿。』

  • And Joy's need to fix things was a solution to another obstacle they ran into,

    其他所有人:『哇!嘿!』

  • which is that incessantly happy characters are annoying.

    但即使在他們放棄了這個計畫後

  • "You have to make it very clear that Joy's chipperness is her solution to her vulnerability."

    他們意識到觀眾可能不會立即 認同樂樂對於憂憂的反感

  • "If you don't have the vulnerability behind the 'ha-ha-ha'

    為了解決這個問題 他們盡可能的讓憂憂變得煩人

  • you're just annoyed at her."

    『憂憂!』

  • The writers included several moments where we see Joy deal with doubt and worry

    『你差點就碰到了核心記憶』

  • by forcing happiness back into the situation.

    『而且你如果摸了它們 我們是無法將它們改變回來的!』

  • FEAR: "Dad just left us."

    『我一直犯像那樣的錯誤』

  • SADNESS: "Oh, he doesn't love us anymore."

    『我真糟糕......』

  • "That's sad."

    『不,你不會』

  • "I should drive, right?"

    『......而且很討人厭』

  • "Joy?"

    『嗯......呃......』

  • "What are you doing?"

    『你知道嗎?你不能一直專注在你犯的錯。』

  • "Uh, just uh, gimme one second…"

    『總有辦法可以解決的』

  • "You know what I've realized?"

    『你要找到那樂趣』

  • "Riley hasn't had lunch!"

    而讓樂樂出面來解決問題 恰巧就是第二個障礙的解方

  • By showing that Joy's incessant happiness was a defense mechanism,

    這個障礙就是: 一直保持非常開心的角色會變得惹人厭

  • and by making Sadness as annoying as possible,

    『你必須非常清楚的顯現出』

  • the Pixar writers allowed the audience to empathize with Joy

    『樂樂的爽朗是她面對脆弱的方式』

  • and see things from her point of view.

    『如果在樂樂的笑聲底下,沒有內心脆弱的這個設定』

  • With this connection made, the story could finally begin to explore

    『你就只是單純對她感到厭煩』

  • the importance of sadness.

    作者加進了一些片刻 讓我們可以看到樂樂如何處理懷疑和擔憂

  • "So you've set the belief system, and then act two is literally psychologically saying

    而她的方式總是強迫回到開心這個情緒

  • to them, 'Is that true?'"

    驚驚:『爸爸離開了我們』

  • "You're trying to break their psychology, you're trying to bring something to consciousness."

    憂憂:『喔,他不再愛我們了,那好讓人難過』

  • Act one clearly establishes that Joy believes being happy all the time

    『啊,我應該來掌控,對吧?』

  • is the right way to live.

    『樂樂?你在做什麼?』

  • So in act two the writers start to poke holes in that belief system.

    『呃,呃,給我幾秒鐘......』

  • One of the clearest examples is when they're trying to get to the train station,

    『你知道我剛想到了什麼嗎?』

  • but Bing Bong's rocket is pushed into the memory dump.

    『萊莉還沒有吃午餐!』

  • "Riley can't be done with me."

    通過展示樂樂一直保持開心其實是一種防衛機制

  • Here, both Sadness and Joy have the same objective.

    也透過讓憂憂盡可能的煩人

  • They want Bing Bong to lead them to the train station.

    這些皮克斯的作家們讓觀眾們得以對樂樂感同身受

  • But by having them use different tactics,

    並從樂樂的角度看周遭發生的事

  • the story demonstrates to the audience and the characters

    當建立了這種聯繫後

  • the lesson that needs to be learned.

    故事終於可以開始探索

  • Joy impatiently tries to make Bing Bong feel better the only way she knows how

    悲傷的重要性

  • by forcing him to be happy.

    『所以你已經建立了一個相信體系』

  • "Hey, who's ticklish, huh?

    然後在第二幕中 就是問他們,從心理層面問他們

  • Here comes the tickle monster…"

    『這是真的嗎?』

  • No response.

    『你試圖打破他們的心裡的牆 試圖讓他們意識到內心深處的東西』

  • "Hey! Bing Bong, look at this!

    第一幕清楚地表明了,樂樂相信

  • Dohoioih!"

    一直保持開心就是正確的生活方式

  • She makes a silly face.

    所以在第二幕時 作者們開始在這個相信體系製造缺口

  • Nothing.

    其中一個最明顯的例子 是他們希望小彬彬帶領他們去火車站

  • "Oh, here's a fun game!

    但是小彬彬的火箭被推進了記憶垃圾場時

  • You point to the train station and we all go there!"

    『萊莉不能沒有我』

  • "Won't that be fun?

    此時,樂樂和憂憂都有相同的目標

  • Come on, let's go to the train station."

    他們希望小彬彬帶他們去火車站

  • When this tactic doesn't work, Sadness sits next to Bing Bong

    但是讓他們使用不同的策略

  • and patiently empathizes with him.

    這個故事向觀眾和角色展示了

  • "I'm sorry they took your rocket."

    我們還需要學習的地方

  • "They took something that you loved."

    樂樂不耐煩地試著用她知道的唯一一種方式 讓他心情好起來

  • "It's gone, forever."

    那就是通過強迫他感到開心

  • "Sadness, don't make him feel worse."

    『嘿,誰在搔癢啊,蛤?』

  • "Sorry."

    『搔癢怪物要來啦... 』

  • "It's all I had left of Riley."

    沒有反應

  • "I bet you and Riley had great adventures."

    『嘿!小彬彬,看看這個!』

  • "We were best friends."

    『哇!%^*& ... 』

  • "Yeah."

    她做了鬼臉

  • "It's sad."

    沒有效果

  • Bing Bong puts his head on Sadness' shoulder and CRIES.

    『哦,我有一個有趣的遊戲!』

  • Sadness keeps her arm around him until he's done.

    『你指向火車站,然後我們都走去那裡!』

  • "I'm okay now."

    『這不是很有趣嗎?』

  • "C'mon, the train station is this way."

    『來吧,我們去火車站吧』

  • This shows Joy that she might be looking at life the wrong way

    當這種策略沒有用時

  • that happiness isn't always the answer.

    憂憂在小彬彬的旁邊坐下

  • This idea is pretty unconventional, especially for a kid's movie.

    並和他感同身受

  • As a culture we tend to constantly seek happiness and joy,

    『我很抱歉他們拿走了你的火箭』

  • and look at sadness as something to be avoided at all costs.

    『他們拿走了你深愛的東西』

  • But this moment rings very true to me,

    『它永遠消失了』

  • and I think it's because it's actually based on experiences from Meg LeFauve's life.

    『憂憂,不要讓他心情更糟』

  • "My son went to what's called an attachment preschool,

    『抱歉』

  • where they're not teaching ABCs, 123s, they're teaching emotional intelligence."

    『那是我僅有的有關萊莉的東西』

  • "Let your kid have whatever emotion they're having right now.

    『我猜你和萊莉一定有過很棒的冒險。』

  • And just meet them where they are."

    『我們曾經是最好的朋友。』

  • "And then you would just keep narrating it, and they would talk, and you'd narrate it."

    『是啊』

  • "And then they'd pass through and toddle off and be happy

    『這真的很讓人難過』

  • or angry whatever next emotion is coming up."

    小彬彬把頭放在憂憂的肩膀上然後大哭

  • But Joy doesn't fully learn the lesson here,

    憂憂一直摟著他,直到他哭完

  • as later in the film she chooses to leave Sadness behind

    『我現在好了。』

  • when she finds a way back to headquarters.

    『來吧,火車站往這裡走。』

  • "I'm sorry."

    這表明樂樂對生活方式的看法可能是錯的

  • "Riley needs to be happy."

    快樂並不總是答案

  • "Joy?"

    這個想法非常跳脫傳統

  • She's still refusing to let go of her old beliefs,

    尤其這是一個給孩童的電影

  • and this selfish choice is met with catastrophe.

    因為我們常處在在一種文化 是認為我們必須一直尋求開心

  • "Ah!"

    並把悲傷看作是不惜一切代價要避免的事情

  • "Joy!"

    但這一刻對我來說非常真實

  • Joy realizes that despite her best intentions, she's found herself at her lowest point yet.

    我認為這是因為它實際上是基於 Meg LeFauve 的生活體驗

  • It's the same point that Pete Docter found himself in

    『我的兒子去讀所謂的附屬學前班』

  • when he realized the film wasn't working.

    那裡他們沒有教ABC和123 他們教情緒商數

  • He thought wanted to talk about fear, but it wasn't what he needed to talk about.

    『讓你的孩子擁有他們現在正在感受的情緒』

  • And for both he and the character of Joy,

    『然後去面對這樣的他們』

  • it took arriving at this dark, painful place for them to realize the truth.

    『然後你會繼續和他講述情緒 孩子會和你談論,你會繼續講述它』

  • "Mom and Dad…"

    『他們經歷過這個過程,然後離開』

  • "The team…"

    『他們變得開心,或是生氣, 或不管下一個來臨的什麼情緒』

  • "They came to help because of Sadness."

    但樂樂還沒有完全學習到教訓

  • "Joy, as much as we all want it in our lives, is not the answer."

    在電影的後半部

  • "The answer is actually sadness."

    當她發現了一條回大腦總部的路時 她選擇丟下憂憂

  • Joy's character arc mimics Pete Docter's.

    『對不起』

  • And her realization is powerful and authentic largely because it was inspired by the director's

    『萊莉需要快樂』

  • own discovery of the importance of sadness.

    『樂樂?』

  • "The mysterious thing about telling stories is that it ends up changing you."

    她仍然拒絕放棄她以前所相信的

  • "As a storyteller, the research that you do,

    而這種自私的選擇遭遇了災難

  • the almost meditation-like focus on a theme

    『啊!』

  • that you're dealing with."

    『樂樂!』

  • "It ends up seeping into your own system and changing the way you look at the world."

    樂樂發現到儘管她出發點是好的

  • Knowing the mechanics of storytelling is important.

    她卻發現自己來到了她的最低潮

  • But it's also important to remember that the ultimate goal of telling a story

    這與 Pete Docter 當初

  • is to share something.

    在電影沒有進展而到樹林散步時的發現相同

  • And I believe the way to ensure that your story is generous and not simply a vanity project

    他以為他想談論恐懼

  • is to for it to be emotionally authenticwhich is rarely an easy thing to do.

    但這並不是他需要談論的內容

  • As Meg LeFauve says...

    而導演和樂樂這個角色

  • "There should probably be, as a writernow, I'm just talking about myself, personally..."

    都在來到黑暗且痛苦的地方後

  • "A point in the process when you're writing that to write this scene..."

    才了解到真相

  • "You feel like you're going to throw up because it's so emotional.

    『媽媽和爸爸…』

  • It's so digging into something in your psychology."

    『球隊…』

  • "In other words, you're asking the audience to have a cathartic experience...

    『他們是因爲我的難過而來幫忙的』

  • odds are you probably need to have one when you're writing."

    『快樂...雖然我們都希望它在我們生活中越多越好』

  • This is something the team at Pixar fully embraced,

    『但它不是答案』

  • and the result is a film that deeply resonated with many people, both kids and adults.

    『答案實際上是悲傷』

  • The writers allowed themselves to be vulnerable, went on a journey into their minds,

    樂樂這個角色的發展反映了 Pete Docter 的發現歷程

  • and returned with an emotional truth to share with us.

    樂樂最後的領悟是非常真實有力的

  • The power of the film didn't come from a clinical, outside-in approach,

    因為它來自於導演發現『悲傷的重要性』後 所得到的啟發

  • but rather, from the inside-out.

    『講故事的神秘之處是在於』

  • Hey guys, Michael here.

    『它最終會改變你 改變你這個講故事的人』

  • I hope you enjoyed this video which was sponsored by Squarespace.

    『那些你所做的研究』

  • Today, with their support, I'm creating an email list.

    『還有那些你幾乎像冥想一樣專注在的那些主題』

  • Some of you have mentioned that you're not always notified when I release a new video.

    『這些最終都會滲透到你自己的想法』

  • Now, you can go to my website, sign-up, and never miss another upload.

    『並改變你看待世界的方式』

  • The link is in the description below.

    了解講故事的技巧很重要

  • If you're thinking of starting a website, Squarespace is the place to do it.

    但是同樣重要的是要記住

  • It's super simple to design the site you want, and they have a ton of features to give you

    講故事的最終目的是要分享一些東西

  • exactly the functionality