(单词翻译:单击)
-Yes.
-你好。
-Hello?
-你好？
-Yes, this is Jackie speaking.
-我是成龙。
Hi, my name is Tony and this is Every Frame a Painting.
大家好，我是托尼，这里是电影艺术评价。
Some filmmakers can do action.
一些电影制作人会拍动作片。
Others can do comedy.
还有一些会拍喜剧。
But for 40 years, the master of combining them has been Jackie Chan.
但40年来，只有成龙成功将两者结合了起来。
These days, there's a lot of movies that combine funny scenes with fight scenes.
如今，很多电影将喜剧场景和打斗结合在一起。
But even when the movie's good the comedy and action seem to be two directors and two different styles.
但这些电影即使好看，其中喜剧的部分和动作的部分也好像两个导演导的，风格不尽相同。
And that's why Jackie's so interesting.
而成龙的电影有趣，就是因为他避免了这种情况。
In his style, action is comedy.
在他的电影中，动作本身就是喜剧。
And his work shows that the same filmmaking principles apply whether you're trying to be funny or kick ass.
他的作品证明，无论你是想拍喜剧还是拍动作戏，制作原则都是一样的。
So let's dive in.
所以，让我们进入成龙动作喜剧电影的世界。
If you'd like to see the names of the films as I'm talking, press the CC button below.
如果你想知道电影的名字，请按下面的CC按钮。
Ready?
准备好了吗?
Let's go.
让我们开始吧。
So how does Jackie create action that is also funny?
那么，成龙是如何创作出有趣动作的呢？
First off, he gives himself a disadvantage.
首先，他让自己处于劣势。
No matter what film, Jackie always starts beneath his opponents.
在成龙的电影开场中，面对敌人他总是身处险境。
He has no shoes.
比如没鞋穿。
He's handcuffed.
和别人拷在一起。
He has a bomb in his mouth.
嘴里被放了一颗炸弹。
From this point, he has to fight his way back to the top.
从这开始，他必须奋力让自己夺回优势。
Each action creates a logical reaction.
成龙做出的每个动作都会得到合乎情理的反馈。
And by following the logic...
他用符合逻辑的方式……
We get a joke.
制造了笑料。
In movies, this comedic style goes back to the silent clowns like Chaplin, Lloyd, and Keaton.
在电影中，这种喜剧风格可以追溯到卓别林、劳埃德和基顿等无声喜剧角色的时期。
But I think Jackie has distilled it down to one line of dialogue:
但我认为成龙已经把这种风格浓缩成了一句对白：
-Please!
-拜托！
-I said I don't want trouble!
-我说了我不想惹麻烦！
Because he's the underdog, Jackie has to get creative which brings us to point number two: he uses anything around him.
因为处于下风，所以成龙必须发挥创意力，这就让我们来到了第二点：他尽可能利用身边的物品。
This is the most famous aspect of his style.
这是他最著名的风格之一。
Take something familiar, do something unfamiliar.
用一些平常的物品，做不平常的事。
I've seen him fight with chairs dresses chopsticks keyboards Legos refrigerators and of course: Not only does this make each fight organic and grounded it also gives us jokes that couldn't happen anywhere else.
我看过他用椅子、衣服、筷子、键盘、乐高积木和冰箱打架，当然，这不仅让打戏变得生动且符合现实，还给我们带来了其他电影体会不到的笑点。
Number 3: Jackie likes clarity.
第三点：成龙喜欢让画面保持清晰。
He doesn't do dark scenes where everything is color-corrected blue.
他不拍调成一片蓝色的昏暗场景。
If his opponent wears black, he wears white.
如果他的对手穿黑衣服，他就穿白衣服。
And if his opponent's in white, then he's stylin'.
如果他的对手穿白衣服，他就穿得花里胡哨。
His framing's so clear that in each shot he's setting up the next bit of action.
成龙拍摄的电影画面十分清晰，他的每一幕画面都在为下一步的行动做铺垫。
Here, even though we're watching the stuntman, two-thirds of frame is the staircase.
在这里，虽然特技演员是剧情的重点，但画面有三分之二都是楼梯。
A few seconds later, we see why.
几秒钟后，我们知道了原因。
He keeps things clear by rarely using handheld or dolly moves.
为了保持画面清晰，成龙很少使用手持摄像机或摄像机移动设备。
-Like American movies, there's a lotta movement.
-美国电影里有很多镜头的移动。
-When the camera angle moves...
-镜头移动的话……
-that means the actors, they don't know how to fight.
-就说明，演员们不知道怎么打。
In slow-motion you can see how the camera operator swings around to make the hits seem more violent.
在慢动作中，你可以看到摄影师摇摆镜头，让拍摄的打戏看起来更刺激。
But since Jackie CAN fight...
但因为成龙会拍打戏……
-I never move my camera.
-我从不移动镜头。
-Always steady.
-让它保持固定。
-Wide-angle.
-广角镜头。
-Let him see I jumping down, I do the flip, I do the fall.
-让镜头拍下我从高处跳下，翻跟头，摔倒的动作。
When you shoot this way, everything looks more impressive because action and reaction are in the same frame.
这样的镜头下，一切都更令人印象深刻，因为角色的动作和他人的反馈被放在同一镜头中。
Notice how you can always see Jackie, the car and the wall at the same time.
注意这里，成龙、车辆和墙一直可以在同一个镜头中看到。
But a similar stunt from Rush Hour 3 never includes all the elements in the same shot, and it doesn't work.
但在《尖峰时刻3》中，类似的特技表演没能把所有元素放在一个画面中，因此达不到应有的效果。
The same principle applies to comedy.
同样的原则也适用于喜剧。
This shot, directed by Sammo Hung, shows us the punch, the bad guy's face and Jackie's face all in one.
洪金宝执导的这一幕，将挥来的拳头、坏人的脸和成龙的脸放在一个画面中。
Now check out the same gag in Shanghai Noon.
现在来看看上海正午中同样的一个笑料。
Here, action and reaction are separate shots.
在这一幕中，动作和反应分别放在了两个镜头里。
It kinda works, but not nearly as well.
这还算有点意思，但效果不是很好。
Why don't more directors do this?
但为什么很多导演不这样做呢？
Because of number 5: they don't have enough time.
因为第五点：他们时间不够。
Jackie is perfectionist willing to do as many takes as necessary to get it right And in Hong Kong, he's supported by the studio which gives him months to shoot a fight.
成龙是个完美主义者，想要尽其所能拍好电影，在香港，他得到了制片厂的支持，可以用几个月的时间来拍摄一场打戏。
-And the most difficult thing is when I throw the fan and it comes back.
-最困难的是我把扇子扔出去，然后让它飞回来。
-More than 120 takes.
-拍了超过120次。
-Those kind of scenes, you say "Oh, Jackie's good."
-看到这样的场景，你会说“哦，成龙很棒。”
-It's not good.
-这没什么棒的。
-You can do it.
-你也可以做到。
-Except do you have the patience or not?
-只是你有没有耐心的问题。
