(单词翻译:单击)
Hi, my name is Tony, and this is Every Frame a Painting.
大家好，我叫托尼，这里是电影艺术评价。
There are some filmmakers who are so influential, that no matter where you look, you see traces of them everywhere.
有些电影制作人影响力很大，以至于在哪都能看到他们的踪迹。
I see this filmmaker's framing in the works of Wes Anderson.
我在韦斯·安德森的作品中看到了他的构图。
His acrobatics and stunts in Jackie Chan.
在成龙的电影中看到了他的杂技和特技。
And his deadpan posture in Bill Murray.
在比尔·默里身上看到了他面无表情的样子。
He, of course, is Buster Keaton, one of the three great silent comedians.
他就是巴斯特·基顿，三大视觉喜剧演员之一。
"He was, as we're now, beginning to realize, the greatest of all the clowns in the history of the cinema."
“我们现在才开始意识到，他是电影史上最伟大的喜剧演员。”
And nearly a hundred years later, I think he still has plenty to teach us about visual comedy.
近百年后，我认为他的视觉喜剧依旧有很大的学习价值。
So today, let's take a look at how the master builds a gag.
所以今天，让我们来看看这位大师是如何制造一个笑料的。
Ready?
准备好了吗?
Let's go.
让我们开始吧。
The first thing you need to know about visual comedy is that you have to tell your story through action.
关于视觉喜剧，你需要知道的第一件事是，你必须通过动作来讲故事。
Keaton was a visual storyteller and he never liked it when other directors told their story through the title cards.
基顿是一个利用视觉讲故事的人，他一直不喜欢其他导演通过电影画面里整板大段的文字来讲故事的方式。
"The average picture used 240 titles, that was about the average."
“平均每个镜头用240个字，这差不多是平均数字。”
"240 was the average?"
“240是平均数？”
"Yes."
“是的。”
"And the most I ever used was 56."
“我最多的一次只用过56个字。”
He avoided title cards by focusing on gesture and pantomime.
他主要通过身体动作和滑稽画面来避免大段的文字。
In this shot, you never find out what these two are talking about.
在这个镜头中，你永远不会知道这两个人在说什么。
Everything you need to know is conveyed through the table and their body language.
你需要知道的一切都通过桌子和他们的肢体语言传达了出来。
"But what you had to say, you had to communicate to the audience in only one way..."
“但你有必须要说的话，这些话必须以另一种方式向观众呈现。”
"Through action."
“通过动作。”
"That's right."
“是的。”
"We eliminated subtitle."
“我们会去掉字幕。”
"Just as fast as we could if we could possibly tell it in action."
“如果我们可以用动作体现这些文字，我们就赶快把字幕删掉。”
Keaton believed that each gesture you did should be unique.
基顿认为，每一个动作都应该是独一无二的。
Never do the same thing twice.
永远不要同一件事做两次。
Every single fall...
每一次摔倒……
Is an opportunity... for creativity.
都是创新的好机会。
But once you know the action, we come to the second problem: Where do you put the camera?
一旦决定了动作，我们就会遇到第二个问题：相机应该放在哪里？
Visual gags generally work best from one particular angle.
通常来说，视觉笑料从一个特定角度来拍效果最好。
And if you change the angle, then you're changing the gag and it might not work as well.
如果角度不断改变，那么笑料也就被改变，可能无法起到预期的作用。
Finding the right angle is a matter of trial and error.
寻找正确的拍摄角度需要反复试验。
So let's take a look at two possible camera placements for the same joke.
因此，让我们来看看同一个笑料的两个可能的摄像头放置位置。
Here's the first one.
这是第一个。
And here's the second.
这是第二个。
You'll notice in first angle, the car takes up most of the frame and we don't get a clear look at Buster until he turns around.
你会注意到，在第一个角度，车辆占据了大部分画面，直到巴斯特转身，我们才能清楚地看到他。
But in the second angle, the car's placed in the background and we always have a clear view of his face.
但在第二个角度，车是作为背景，我们一直能清楚地看到巴斯特的脸。
This split second, where he doesn't know what's happening but we do...
在这一瞬间，他不知道发生了什么，但我们知道……
That's much better from over here.
这比在车头处拍摄要好得多。
And in the first angle, the framing splits our attention.
在第一个角度，构图分散了我们的注意力。
Our eyes want to look at his face and the sign at the same time.
我们的眼睛需要同时看着他的脸和牌子上的字。
But after reframing the scene...
但在重新构图之后……
Our eyes naturally look at him, then the sign, then back to him.
我们的目光自然而然地看向巴斯特，然后转向牌子的内容，最后回到他身上。
Much better.
这样好多了。
Now we come to the third question.
现在我们来看第三个问题。
What are the rules of this particular world?
这个特殊世界的规则是什么？
Buster's world is flat and governed by one law.
巴斯特的世界是平面的，仅由一条法律统治。
If the camera can't see it, then the characters can't see it either.
摄像机看不到的东西，角色也看不到。
In Buster's world, the characters are limited by the sides of the frame and by what's visible to us, the audience.
在巴斯特的世界里，角色受到镜头边框和观众所能看到的东西的限制。
And this allows him to do jokes that make sense visually...
这让他能够创造一些在视觉上讲得通……
but not logically.
但在逻辑上讲不通的笑料。
A lot of his gags are about human movement in the flat world.
他的许多笑料都是关于人类在平坦世界中的运动。
He can go to the right,
他可以向右，
to the left,
向左，
up,
向上，
down,
向下，
away from the lens,
远离镜头，
or towards it.
或靠近镜头。
Look familiar?
看起来眼熟吗？
"She's been murdered."
“她是被谋杀的。”
"And you think I did it."
“你们认为是我干的。”
"Hey!"
“嘿！”
Like Wes Anderson, Buster Keaton found humor in geometry.
和韦斯·安德森一样，巴斯特·基顿也在几何学中找到了幽默。
