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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。
So this channel's been going well, which means it's about time...
这个频道运营得很顺利，这意味着是时候了……
-Time for a confession?
-是时候忏悔了吗？
Yeah, time for a confession.
是的，是时候忏悔了。
I have stolen more ideas from this film than from any other.
我从这部电影中学到的东西比从其他任何一部电影中都多。
-F for Fake.
-赝品。
-F for Fake.
-赝品。
-F for Fake.
-赝品。
-Ladies and gentlemen, by way of introduction,
-女士们，先生们，作为介绍，
-this is a film about trickery...
-这是一部关于诡计……
-and fraud...
-和欺诈……
-about lies.
-以及谎言的电影。
Wait, sorry, I'm doing this wrong.
等等，对不起，这个开场不对。
Can we start over?
我们能重新开始吗？
This is an essay film by Orson Welles.
这是奥森·威尔斯的一部论文电影。
It's called F for Fake.
它的名字是《赝品》。
And it's one of my personal bibles.
这是我的个人圣经。
Everything I know about editing, I learned from this film.
我对剪辑的所有知识，都是从这部电影中学到的。
But today, I want to talk about one basic thing: Structure.
但今天，我想谈谈一个基本的知识：结构。
-We found out this really simple rule that maybe you have all heard before,
-我们发现了一个非常简单的规则，也许你们以前都听说过，
-but it took us a long time to learn it.
-但要花很长时间才能参透。
When you're structuring a video essay, there's one thing you really want to avoid.
当你在规划一个视频论文时，特别要避免一种情况。
-I think that's about it.
-就这些了。
-And then?
-然后呢？
-No, that's it.
-没了，就这些。
-And then?
然后呢？
-Then nothing else cuz I'm done ordering, OK?
-然后就没有别的了，因为我已经点完了，好吗？
-And then?
然后呢？
-If you tell a story that's and then, and then, and then,
-如果你讲一个故事，里面全是然后，然后，然后，
-you're in big trouble.
-你麻烦就大了。
This is the No.1 mistake I make in my own work.
这是我在自己的作品中犯的最大的错误。
Like here.
就像这里。
Watch how repetitive this is.
看看这里的重复。
-Choosing to take the money.
-选择接受这笔钱。
-Choosing not to fight back.
-选择不反击。
-Choosing to hide their emotions.
-选择隐藏自己的情绪。
-Choosing not to trust someone.
-选择不信任某人。
-Choosing to wait out the discomfort.
-选择等待不适结束。
-Choosing to get...
-选择获取……
This is a list you could put in any order.
这是一个可以任意排列的列表。
That's why it's so boring.
这就是它十分无聊的原因。
-What should happen between every beat that you've written down...
-你应该在各段之间放置的连接词……
-is either the word THEREFORE or BUT.
-要么是“因此”，要么是“但是”。
-So what I'm saying is you come up with an idea that's like, this happens...
-所以我要说的是，你提出了一个想法，例如，发生了一件事……
-What are those?
-那是什么？
-My pubes.
-我的阴毛。
-What?
-你说什么？
-I got em from Scott Tenorman.
-我从斯科特·特诺曼那里拿到的。
-and THEREFORE this happens.
-因此，又发生了另一件事。
-Cartman, you don't buy pubes.
-卡特曼，阴毛不是买的。
-You grow them yourself.
-是你自己长的。
-You're saying pubes are worth nothing?
-你是说阴毛一文不值？
-Yeah.
-是的
-BUT this happens...
-但，那件事发生了……
-And I'll give you the pubes.
-然后我把阴毛给你。
-Sweet.
-太好了。
-THEREFORE this happens.
-因此，这件事发生了。
-Aw goddamn it!
-该死的！
So throughout this movie, Orson Welles does the exact same thing.
奥森·威尔斯在整部电影中都是这样做的。
Except he doesn't connect scenes, he connects thoughts.
他不是在连接场景，而是在连接思想。
-You're a painter.
-你是个画家。
-Why do you want people to do fakes?
-为什么你想让人们做赝品？
-Because fakes are as good as the real ones and there's a market and there's a demand.
-因为赝品和真品一样好，有市场就有需求。
-If you didn't have an art market, then fakers could not exist.
-如果艺术市场不存在，那么赝品就不存在。
Even though this movie is an essay, each moment has the connective logic of a South Park episode.
尽管这部电影是一部论文电影，但每个片段都有和《南方公园》一样的连接逻辑。
The second rule in this movie is to have more than one story, moving in parallel.
这部电影的第二条规则是存在不止一个故事，多线并行。
-I'll quote Hitchcock again.
-我要再次引用希区柯克的话。
-He said the name of making movies is meanwhile back at the ranch.
-他说，电影制作的真谛是“与此同时……有什么事情悄悄地发生了。”
-He's absolutely right.
-他说的完全正确。
-You want to have two things going.
-你要让两件事同时进行。
-You reach the peak of one, you go to the other.
-其中一件事到到高潮部分，然后你就转去讲另一件事。
-I hope you know what you're doing.
-我希望你知道自己在做什么
-You pick the other up just where you want it.
-你开始讲另一个故事，讲完你想表现的内容。
-When it loses interest, drop it.
-当它到了没什么意思的地方，就再转换镜头。
-Meanwhile back at the ranch.
-与此同时……有什么事情悄悄地发生了。
How does this work in an essay film?
这在一部论文电影中是如何实现的？
Well, let's say you have two stories.
假设你现在有两个故事。
Let one of them build up.
让其中一个逐渐发展。
When it reaches peak interest, switch to the other.
当它达到高潮时，切换到另一个故事。
Let this one build.
让这个故事逐渐发展。
And when this gets to the top, go back to the first.
当这件事达到高潮时，再回到第一个故事。
Simple, right?
很简单，对吧？
Except F for Fake doesn't just have two things.
《赝品》不只讲了两个故事。
There's also stories about Orson Welles, Howard Hughes, a woman named Oja, and even the making of this movie.
还有关于奥森·威尔斯、霍华德·休斯、和一个名叫奥贾的女人的故事，甚至还有这部电影制作的故事。
And by building each story carefully, Welles can jump between all six of these without ever losing the audience.
通过精心构建每个故事，威尔斯可以在六个故事之间跳跃，而不会让观众感到迷惑。
So when I'm making a video essay, this is what's going through my head.
所以当我做视频论文时，这是我脑海中浮现的想法。
-And then?
然后呢？
-No "and then"!
-没有然后！
-And then?
然后呢？
-No "and then"!
-没有然后！
-And then?
然后呢？
-No "and then"!
-没有然后！
And I got all of that from watching this film.
这是我从《赝品》中学到的。
Which more than anything has taught me: it's not about what you get.
它教给了最重要的一课：重要的不是你有什么。
It's how you cut it and what comes out the other end.
是你如何剪辑它，以及最终产出的结果是什么。
Remember, video essays aren't essays.
记住，视频论文不是论文。
They're films.
而是电影。
So you want to structure and pace them like a filmmaker would.
所以你要像电影制作人一样安排电影的结构和节奏。
Therefore and But.
“因此”，和“但是”。
Meanwhile, back at the ranch.
与此同时……有什么事情悄悄地发生了。
And if you don't believe me, at least trust Orson Welles who somehow figured this out over 40 years ago.
如果你不相信我，至少相信奥森·威尔斯，他在40多年前以某种方式参透了这一点。
-Why not?
-有何不可？
-I'm a charlatan.
-我是个江湖骗子。
But whatever.
但不管怎样。
Let's wrap up this essay.
让我们把这篇论文写完。
-Now it's time for an introduction.
-现在是自我介绍的时候了。
Hi, my name is Tony and this concludes Year One of Every Frame a Painting.
大家好，我是托尼，这是电影艺术评价栏目走过的第一年。
I'd like to thank you for watching.
感谢您的收看。
-and wish you all a very pleasant...
-并祝大家都有一个愉快……
-good evening.
-而美好的夜晚。
