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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。
And I know exactly what you're thinking: Why am I talking about this guy?
我知道你想问什么：我为什么要做视频讲这个人？
-Oh my god, you're Michael Bay!
-天哪，你是迈克尔·贝！
-Oh my god, I am Michael Bay.
-天哪，我是迈克尔·贝。
Because I don't like his films and yet I think it's crucial to study them.
我不喜欢他的电影，但我认为研究这些电影还是很重要的。
Why?
为什么？
-... and Paul, I think you have started to watch WrestleMania on television...
-保罗，我想你已经开始在电视上看摔角狂热大赛了……
-Well, I...
-这个，我……
-Because you must not avert your eyes: this is what is coming at us.
-因为你根本躲不开它：它现在太热门了。
-This is what television, what a collective anonymous body of majority wants to see on television.
-这就是大多数群众想要在电视上看到的。
Like WrestleMania, like Anna Nicole Smith, like Jackass, Michael Bay has created something.
就像《摔角狂热大赛》，《安娜·妮可秀》，《蠢蛋搞怪秀》一样，迈克尔·贝确实创造了一些东西。
-Spectacle!
-精彩的表演！
-It's what people want.
-这就是人们想要的。
-The Romans knew it, Louis Quatorze knew it, Wolfowitz knows it.
-罗马人知道，路易十四知道，沃尔福威茨也知道。
-One, two, three...
-一、二、三……
-Boom!
-砰！
-Bayhem!
-贝炸流！
We may find it crass and vulgar, but if we're going to make better movies, we have to understand the images that are coming at us.
我们可能会觉得这种节目粗鲁低俗，但如果我们想要拍出更好的电影，就必须理解现在人们喜欢的东西。
-Hey, hey!
-嘿，嘿！
So let's talk about Bayhem.
所以，让我们来谈谈贝炸流。
Is it a unique use of film form?
这是一种独特的电影形式吗？
If you want to understand Michael Bay, one of the best ways is to watch his copycats.
如果你想了解迈克尔·贝，最好的方法之一就是看看模仿他的风格创作的作品。
Consider this shot from 'Battleship', which tries to do that circular camera move he's famous for.
例如《超级战舰》的这个镜头，就在模仿迈克尔·贝有名的环绕人物镜头。
Doesn't work here.
但在这里明显效果不好。
Why?
为什么？
It's actually really simple.
原因很简单。
First, there's no background, except for blue sky.
首先，这个镜头的背景里除了蓝天什么也没有。
Without a background, we don't get parallax, so the shot doesn't feel like it's moving.
背景很空，就不能形成移动视差，所以我们感觉不到镜头的移动。
See the difference?
看到区别了吗？
On top of that, the lens is wrong.
最重要的是，镜头也用错了。
Bay frequently shoots these shots with a telephoto lens, which compresses the space.
迈克尔·贝拍摄这些镜头通常会用长焦镜头，制造空间压缩感。
This makes the background whizz by.
有利于背景迅速消失。
Third, the actor's just staring and turning his head, but the key to the Bay version is that the actors move vertically.
第三，演员只是盯着一个地方看，然后转过头来，而迈克尔·贝拍摄的关键在于演员在垂直方向有运动。
Like here.
例如这一幕。
And here.
还有这一幕。
And last, the low angle is there to give us the scale and slow motion is there to sell it.
最后，从低角度拍摄是为了制造空间感，慢动作用来加强效果。
So what we have here in the Bay's shot is multiple types of movement, integrated: movement of the camera, movement of the background, movement of the actors, expansion of time.
迈克尔·贝的镜头将多种类型的运动组合在了一起：相机的运动，背景的运动，演员的运动和时间的延长感。
Then they stand still and look off-screen, creating stillness.
然后演员站定不动，看着镜头外，创造静止的感觉。
Even though you're looking at a stationary point in the frame, this shot feels huge.
即使你看着画面中间不动的那个点，这个镜头依旧很让人感到震撼。
-Shit just got real.
-出大事了。
Breakdown any Michael Bay's shot and that is basically what you will see: layers of depth, parallax, movement, character and environment to give this sense of epicness.
深入分析迈克尔·贝的任何一个镜头，你基本上都能看到：丰富的层次、视差、运动、角色和环境，所有这些都赋予了镜头一种史诗感。
None of these techniques is particularly unique.
这些技术都不是他特有的。
In fact, most cinematographers will naturally create depth in their images and parallax, whenever the camera moves.
事实上，大多数摄影师都能利用摄像机的移动自然地在他们的画面中创造层次和视差。
And the Hero Shot is everywhere.
英雄镜头无处不在。
What makes Bay unique is how many layers and how complex the movement is.
迈克尔·贝的独特之处在于，他能够让层次更丰富，运动更复杂。
That doesn't make his shots better, it just makes them more complicated than the competition.
这并没有让他的镜头变得更优秀，只是让它们比其它同行的镜头更复杂。
That's why his frames seem to have a lot of stuff going on.
这就是为什么他的画面看起来总是有好多事情在同时发生。
Lots of dust, dirt, smoke or explosions between the layers.
层次之间有大量的灰尘、泥土、烟雾或爆炸。
Also, lamp-posts.
还有灯柱。
Lots of lamp-posts.
很多灯柱。
If you go back to the first Bad Boys, you can watch this from the opening credits.
如果你去看《绝地战警》第一部，在片头字幕就能看到。
Here, the car moves one way, the plane another, the lamp-posts are in frame for scale and the camera is on a telephoto lens.
在这里，汽车朝一个方向移动，飞机朝另一个方向移动，灯柱用来增强空间感，摄影使用长焦镜头。
Later in the film, you can see the same compositional techinique.
在电影随后的内容中，可以看到同样的构图。
And when the explosions happen...
当爆炸发生时……
Once you see this, it's much easier to deconstruct his imagery and to see its limits.
一旦你明白了这一点，就更容易解构他的画面，理解它的局限性。
For instance, Bay doesn't distinguish between when to do a shot and when not to do it.
例如，迈克尔·贝不会区分不同的镜头。
He'll use the same camera movement, whether the charachter's saying something important...
他在所有镜头中都使用相同的移动方式，无论角色是在说重要的事情……
-You have any money here in the States?
-你在美国有很多钱吗？
Or total gibberish...
还是完全在胡言乱语……
-What did I say?
-我说了什么？
-Did you hear what I said?
-你听到我刚说的了吗？
-I heard what I said 'cause I was standing there when I said it.
-我听到了我在说什么，因为我说的时候就站在这里。
Every shot is designed for maximum visual impact, regardless of whether it fits.
每一个镜头都是为了实现最佳的视觉效果，无论内容是否合适。
But the Bay style also leads to some fascinating visual ideas.
但迈克尔·贝的拍摄风格也带来了一些迷人的视觉创意。
How can you make something feel big?
你要怎么让东西看起来很大？
Well, you put lots of things of varying size in the same shot and then you move the camera to emphasize.
你可以在一个镜头中放入许多大小不同的东西，然后移动相机来强调对比。
This is something "Jurassic Park" also did very well.
《侏罗纪公园》在这一点上也做得很好。
-Ah!
-啊！
-It's...
-这是……
-It's a dinosaur.
-这是恐龙。
Just as important is off-screen space.
屏幕外的空间也同样重要。
Notice here, this actor isn't looking at the planes we see in the background.
注意，这位演员没有看向画面背景中我们能看到的飞机。
That means there's even more planes we can't see.
这说明画面外有更多我们看不到的飞机。
So while the shot feels huge, it implies even more scale.
因此，尽管这一镜头已经感觉很壮观了，但这个画面表明整体的场面要更壮观。
How does a filmmaker come up with images like this?
一个电影制作人是怎么想出这样的画面的？
In the case of Michael Bay, let's look at one of his favorite films.
以迈克尔·贝为例，让我们来看看他最喜欢的一部电影。
"When you're a Jet, you're a Jet all the way From your first cigarette to your last dying day"
“当你成为喷射机的一员，你永远都是它的一员，从你的第一支烟起，到你死的那天止。”
There's a great New York Times interview where he watches "West Side Story" and talks about how this is a great shot and this is a great cut.
在《纽约时报》的一篇很棒的采访中，迈克尔·贝称他观看过《西区故事》，并谈到这个镜头很棒，这里剪辑很棒。
He can't articulate why they're great, other than "they're dynamic".
但除了“它们很动感”之外，他说不出这个镜头和剪辑还有什么其它的伟大之处。
But I think that's it.
但我想也只是这样。
