(单词翻译:单击)
So let's go one by one.
所以让我们一个一个讲。
First, the framing.
首先是画面。
Ramsay often frames so that important information is slightly cut off from the viewer.
拉姆塞经常用镜头把一部分信息框起来，这样观众就看不到重要的部分。
Notice here, we never see the woman's eyes.
注意这里，我们一直看不到角色的眼睛。
Meanwhile here, we have a character who's literally cut in half by a door.
同时，还有一个被门一分为二的角色。
In all of these shots, you can guess what someone is feeling but the frame doesn't let you see them in full.
在这些画面中，你可以猜到其中角色的感受，但无法完整地看到他们。
"There's no place like home."
“没有比家更好的地方了。”
"No place like home."
“没有比家更好的地方了。”
So as an audience, you're never told what to feel about these people.
作为一名观众，没有人告诉你如何去感受这些人的感受。
There's something mysterious about them.
因此他们身上存在一些神秘感。
Which brings us to No.2: faces.
这就把我们带到了第二点：表情。
I don't know why, but some people just look right when you put them onscreen.
我不知道为什么，但有些人在屏幕上的表现就是恰到好处。
Even when they aren't professionals.
即使他们不是专业人士。
In most of her work, Ramsay mixes professional and non-professional actors until the two are indistinguishable.
拉姆塞在大部分作品中让职业演员和非职业演员混在一起表演，直到两者相差无几。
"The best actors for me are the people who are like non-professional actors..."
“对我来说，最好的演员是那些看起来像非专业演员的人……”
"You can't tell where, you know, where the film ends or begins."
“你不知道故事在哪开始，在哪结束。”
"As if they, you know, were the same offscreen."
“好像他们在屏幕外就是这样。”
"You know, they just feel real."
“他们看起来很真实。”
And she picks people who can convey what's going on inside their head without any dialogue.
她挑选的演员可以在没有任何对白的情况下传达他们脑中的想法。
"He's the double of my Ryan, innit he?
“他和我的瑞安一模一样，不是吗？”
"The same eyes."
“一样的眼睛。”
And No.3, there's the repetition of certain details.
第三点，是一些细节的重复。
When you're watching one of these films, pay attention to how and when images repeat.
当你观看拉姆塞的电影时，要注意画面重复的方式和时间点。
For instance, notice how mother and son imitate each other's body language.
例如，注意这个画面，母子俩是如何模仿彼此的肢体语言的。
And in the next shot, they do the exact same thing, ten years later.
在下一个画面中，也就是十年后，他们做了完全相同的事情。
At one point, the son does this with his fingernails while later in the film, his mother does the same thing with eggshells.
在一个画面中，儿子用指甲做了这样的动作，在电影后面的剧情里，他的母亲用蛋壳做了相同的动作。
A more conventional film might explain the meaning of this but here, all we get is one image.
一部传统电影可能会对这些画面作出解释，但在拉姆塞的电影里，我们得到的只是一个画面。
And then another.
和另一个画面。
And we have to work out the connection for ourselves.
我们必须自己找出其中的联系。
So let's consider all this over the course of a single short film.
因此，让我们通过一部短片思考这几点。
This is Gasman, made in 1997.
这是1997年拍摄的《煤气收费员》。
I'm not gonna tell you the big plot point.
我不会告诉你重点情节。
I'm just gonna show you some details from before and after.
只会给你看一些电影前后的细节。
See if you can guess what's happening.
看看你能不能猜到剧情是什么。
"Gonna lift me up, daddy?"
“能把我举起来吗，爸爸？”
At the beginning of the film, Lynne and her father meet another girl on the tracks.
在电影的开头，林恩和她的父亲在铁轨上遇到了另一个女孩。
A girl she doesn't know.
一个她不认识的女孩。
Before the event, they bond over her dress and hold hands.
在活动之前，她们因为林恩的裙子成为了朋友，手牵着手。
Notice this shot chops off their heads.
注意，这一幕没有把她们的头拍进去。
After the event, we see them holding hands again, but this time...
活动结束后，我们再次看到她们手牵着手，但这一次……
"What's the matter?"
“怎么回事？”
"She's hurting me."
“她弄疼我了。”
To appease them, Lynne's father picks them up and does this.
为了安抚他们，林恩的父亲把她们都抱起来，然后这样做。
Which mirrors the beginning of the film, when he did the same with just Lynne.
这和电影开头，他和林恩两个人的互动相照应。
At the end, the other girl rejoins her mother.
最后，另一个女孩回到了她的母亲身边。
And we're left on the tracks, watching the back of Lynne's head.
我们被留在铁轨上，看着林恩的后脑勺。
Can you infer what's going on?
你能推断出发生了什么事吗？
What if I showed you this?
如果给你看看这个呢？
Get it now?
现在明白了吗？
A film like this is basically a before and after portrait of one kid's mind presented through parallel images and situations.
像这样的电影基本上是通过相似的图像和情景呈现一个孩子思想的变化。
In other words, it's indirect.
换句话说，这是间接的。
Poetic filmmaking.
充满诗意的电影制作。
It might not hit you while you watch it but it can linger long afterwards.
你在看这部电影时，可能不会有什么情绪上的波动，但在看过这部电影之后很长一段时间里，它可能会在你的脑海中挥之不去。
"So then what you're really saying, it's the eye that's going to captivate, and..."
“那么你真正想说的是，吸引眼球……”
"The vision, the vision that he puts on the film, which I... The vision..."
“视觉效果，电影里的视觉效果，我……”
"meaning the actual picture in the frame and what he puts in the film."
“我是说画面中的实际内容。”
"Which is, I imagine, the way a painter would..."
“我觉得这就像画家的作风……”
"Exactly."
“是的。”
"in terms of his aesthetic."
“他有他自己的审美。”
"Ow!"
“噢！”
"For God's sake, look at the state of my curtain."
“上帝啊，看看我的窗帘成什么样了。
"Because it opens up every possibility for sound, for sight, for form."
“因为它为声音、视觉和形式打开了所有可能性。
Exactly.
是的。
There aren't many films like this and they teach us a very different way of making movies.
像这样的电影并不多，它们教会了我们一种非常不同的电影制作方式。
Instead of going big, they go small.
不是做大，而是做小。
They focus on details.
专注于细节。
They show us less instead of more.
这些电影向我们展示的东西更少，而不是更多。
And through simplicity, they find poetry.
通过简化，它们拥有了诗意。
And if anybody ever asks you what poetry means...
而如果有人问你诗意是什么意思……
I don't know, make something up.
我不知道，随便说说吧。
