(单词翻译:单击)
Hi, my name is Tony and this is a quick Every Frame a Painting.
大家好，我是托尼，这里是简短的一期电影艺术评价。
Maybe you get this.
也许你能理解我。
Sometimes I'm watching a scene and I just get so bored.
有时我看到电影中的一些场景，会觉得很无聊。
Instead of being staged uniquely, the scene is just this: standard coverage.
这些场景没什么特别之处，就是这样：标准的覆盖镜头。
Nobody moves, everybody gets a close-up, and we're stuck here for five minutes cutting back and forth.
没有人移动，每人一个特写镜头，我们被困在这个镜头里五分钟，唯一能做的就是来回切换人物。
-It's like a lot of films one sees today.
-现在人们看到的很多电影都是这样。
-They're what I call photographs of people talking.
-按我的话来说，这些电影就是“人们聊天的照片”。
-And bears no relation to the art of the cinema.
-与电影艺术没有任何关系。
So here's one alternative from Akira Kurosawa: instead of going to standard coverage, stage the scene in simple geometric shapes.
因此，让我们看看黑泽明的解决方案：用简单的几何形状来呈现场景，避免使用一般的覆盖镜头。
This scene comes from The Bad Sleep Well and it focuses on two things squares and triangles.
这一幕取自《懒汉睡夫》，画面聚焦于两种形状的构图：正方形和三角形。
Here, Nishi hands the case to Shirai and as he sits down again, we get a very simple triangle: two sets of eyes and the bag with the stolen money.
在这里，西幸一把箱子递给白井，当他再次坐下时，我们得到了一个非常简单的三角形结构：两双眼睛和装着偷来的钱的箱子。
Notice that Kurosawa doesn't cut between reactions.
请注意，黑泽明没有在两个角色之间来回切换。
Instead our eyes naturally look at one person's face, then the other.
而我们的眼睛会自然地看向一个人，然后看向另一个人。
As Shirai grows afraid, the triangle stretches out.
白井开始感到恐慌时，这个三角形伸展开来。
Even though we're not thinking about it, notice that the door is always in frame in the background, to prepare us for when...
然后是我们不太能关注到的一点，注意在这一幕，门一直处在画面当中，以便……
As Moriyama approaches, the camera reframes to trap Shirai inside a square.
森山走近时，摄像机再次将白井困在一个正方形内。
And as the shorter man backs up...
而当矮个子男人退后时……
We get this great composition: three men, three sets of eyes.
我们得到了这个很棒的构图：三个男人，三双眼睛。
Even though the verbal drama happens between the two standing men, its Nishi's face closest to center frame because we need to see his reaction and make sure his cover isn't blown.
尽管只有两个站着的人参与了这场对话，但西幸一的脸最接近画面中心，方便我们关注他的反应，并与此同时，确保他不会暴露身份。
Kurosawa breaks the triangle with a hand and then a reveal.
黑泽明用一只手打破了三角形的构图，然后真相大白。
Notice how just by moving his eyes, we pay attention to Nishi.
由于西幸一目光的移动，我们自然而然就会注意到他。
And the triangle has subtly changed.
而三角关系也发生了微妙的变化。
The two men on the left have been brought closer together, while the man on the right breaks away to focus on the money.
左边的两个人距离拉进了，而右边的人离得稍远一些，专注于地上的钱。
We get one last attempt at forgiveness but it doesn't work.
角色最后一次求饶，但没起作用。
Shirai hesitates for half a second and the scene ends much as it began, with one person alone planning his next move.
白井犹豫了半秒钟，场景结束时的一幕几乎和开始时一样：西幸一独自一人计划着他的下一步行动。
Even though he never says a word, Toshiro Mifune owns this scene with just his posture and his eyes.
三船敏郎一句话也没说，但他只用他的动作和目光完美地完成了这一幕。
And Kurosawa, by staging it in triangles and squares, gives our eyes multiple points to focus on, and a complete story in two and a half minutes.
黑泽明利用三角形和正方形的构图，在我们眼中形成多个焦点，在两分半钟内讲述了一个完整的故事。
There's even a geometric beauty about it: 1 person, then 2, then 3, 2, 1.
它甚至展现了一种几何之美，一开始是1个人，然后2个人，然后3个人，2个人，又回到1个人。
Its a masterpiece of visual storytelling, if you liked this exercise, try studying any other Kurosawa.
《懒汉睡夫》是一部利用画面讲故事的杰作。如果你喜欢这个练习，试着研究一下黑泽明的其它电影。
For each film, he found bold, simple, visual ways to tell the story.
黑泽明的每一部电影，都利用了大胆、简单、有视觉吸引力的方式来讲述故事。
Seven Samurai has circles and groups of seven.
《七武士》中有圆形构图和七人团体。
Yojimbo has horizontal rows and diagonal lines.
《用心棒》中有横线和对角线。
And the Hidden Fortress has triangles and more triangles.
《战国英豪》中有三角形构图，非常多三角形构图。
So the next time you have multiple characters in a scene, don't just shoot generic close-ups.
因此，当你下次拍摄多角色场景时，不要只拍摄普通的特写镜头。
Be creative and see what kind of shapes you can make.
发挥创意，看看你能创造出怎样的形状。
