(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。
If you grew up like I did, you probably watched a lot of Looney Tunes.
如果你像我一样长大，可能会看过很多《乐一通》动画。
And if you paid attention to the credits, then you recognize this name.
而如果你注意到了制作人员，就一定能认出这个名字。
"My full name is Charles Martin Jones."
“我的全名是查尔斯·马丁·琼斯。”
"This is not where I really belong."
“我不属于这里。”
"I belong behind the camera."
“我存在于镜头之后。”
Chuck Jones is one of the all-time masters of visual comedy.
查克·琼斯是有史以来最伟大的视觉喜剧大师之一。
Between 1938 and 1962, he directed more than 200 cartoons for Warner Bros.
1938年至1962年间，他为华纳兄弟导演了200多部影片。
Ten films a year, six minutes per film.
一年十部电影，每部六分钟。
What's astonishing is that they hold up more than 50 years later.
令人惊讶的是，它们在50多年后仍然经得起考验。
And among them, are some of the greatest short films ever made.
这些动画中，有一些是动画短片创作史上最伟大的作品。
But none of this happened overnight.
但这一切都不是一夜之间发生的。
It was a long process.
这是一个漫长的过程。
So today, let's take a look...
所以今天，让我们来看看……
At how a good artist became a great one.
他如何从一位优秀的艺术家，变成了伟大的艺术家。
"All right, let's get this picture started!"
“好了，让我们开始本片吧！”
"No!"
“不！”
"No!"
“不要！”
The most famous aspect of any Chuck Jones cartoon (and the parts you probably remember) are the jokes...
查克·琼斯的动画片中最出名的部分（以及可能最让你印象深刻的部分）都是笑话……
Written by Michael Maltese and Tedd Pierce.
迈克尔·马尔泰斯和泰德·皮尔斯创作的笑话。
Nearly every gag here follows a classic two-part structure.
他们的几乎每个笑话都遵循经典的二分法。
The first part...
第一部分……
Leads you to make an assumption.
让你做出一个假设。
The second part...
第二部分……
Proves it wrong.
证明你的假设是错的。
That's it.
就是这样。
Assumption.
假设。
Reality.
现实。
And in the early cartoons, the jokes are fantastic and they happen one after the other.
早期动画片中的笑话非常精彩，接连不断。
But here's the truth: the gags are only the surface level.
但事实是：这些笑话只是表面。
What really sets these films apart is the amount of work that was put into character.
真正让这些电影与众不同的是对角色塑造投入的大量工作。
And that process took a long time.
这个过程会花很长时间。
"All characters are a process of learning."
“所有角色的塑造都是一个学习的过程。”
"It's hard for people to understand, who watch actors..."
“看真人演出的观众很难理解……”
"to realize that, actors come with an ability."
“很难意识到演员有一种能力。”
"They've played other parts."
“他们能够扮演不同角色。”
"Hello."
“你好。”
"When you bring in a drawing, all you have is a drawing."
“但如果你拿来一个画面，它就只是一个画面。”
"And you have to put in the character."
“你必须给角色塑造性格。”
Consider the case of Daffy Duck.
以达菲鸭为例。
When he first started out...
在达菲鸭刚开始出现的时候……
Daffy was more or less insane.
它或多或少有些疯狂。
"Gosh what a crazy screwy duck."
“天哪，真是只古怪的疯鸭子。”
But over the course of 15 years, he changed from being the one who laughs to being the butt of the joke.
但在15年的时间里，他从一个发出笑声的角色变成了制造笑声的角色。
This Daffy is less crazy but it's easier to understand what he wants.
这个达菲鸭没那么疯狂，但我们更容易理解他想要什么。
He wants money.
他想要钱。
He wants to be a star.
他想成为明星。
In short, he wants glory.
简而言之，他想要获得荣耀。
"This looks like a job for..."
“这看起来像是一份……”
"The Masked Avenger!"
“给蒙面复仇者的工作！”
In fact, all of Chuck Jones' characters have very clearly defined wants.
事实上，查克·琼斯笔下的所有角色都有非常明确的欲望。
This one wants a home.
他想要一个家。
This one wants to daydream.
他想做白日梦。
And this one just wants somebody to love.
而他只是想要一个爱人。
"Ah, my little darling."
“啊，我的小宝贝。”
"It is love at first sight, is it not?"
“这就是一见钟情，不是吗？”
Notice that every desire here is very simple.
请注意，这里角色的欲望都很简单。
And the simpler the desire, the more vivid the character.
欲望越简单，角色就越生动。
Once you know what the character wants, you can figure out the next question: How does this particular individual move?
一旦你知道了角色想要什么，你就可以回答下一个问题：这个特定的角色该如何行动？
"Every action is dictated by what goes on inside of you."
“每一个动作都是由你的内心决定的。”
"You have to be able to think the way the character thinks."
“你必须能够像角色那样思考。”
"If you can't tell what's happening by the way the character moves, you're not animating."
“如果你不能从角色的行动方式中看出什么，你就不是在做动画。”
"I am a snake and you have charmed me, no?"
“我是一条蛇，你诱惑了我，不是吗？”
"It helps to have the dialogue...."
“对话能起到帮助作用……”
"but the dialogue is not the thing that makes it work."
“但故事的成立不是依赖于对话。”
"The story should tell itself by the way it moves."
“仅靠角色的动作就应该能推进故事的发展。”
So let's say you know what the character wants and you know how they move to get it.
所以假设你知道角色想要什么，你知道他们为何如此行动。
What about the jokes?
那么笑话呢？
What happens to the assumption...
在假设……
And the reality?
和现实之间发生了什么？
Well, now the assumption includes the personality of the character.
现在，我们的假设中考虑到了角色的性格。
For instance, we know that Daffy will always pick a fight because it's part of his desire for glory.
例如，我们知道达菲总是挑起战斗的一方，因为这是他对荣耀的渴望的一部分。
"Take over."
“出手吧。”
Likewise, we know the Coyote's device will fail so Jones can play this gag offscreen which ends up making it funnier.
同样的，我们知道歪心狼的设备会失灵，这样琼斯就可以在屏幕外表达这个笑料，让它变得更有趣。
