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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。
Today I’m going to talk about one of the greats of the last twenty years, the Japanese filmmaker Satoshi Kon.
今天我要讲的是过去二十年来最伟大的日本电影制作人之一，今敏。
Even if you don’t know his work you have certainly seen some of his images.
就算你不知道他有什么作品，也一定看到过他创作的某些片段。
He is an acknowledged influence on both Darren Aronofsky and Christopher Nolan And he has a fan base that includes just about everyone who loves animation.
很多人认为他对达伦·阿罗诺夫斯基和克里斯托弗·诺兰的创作产生了影响，所有热爱动画的人基本都是他的粉丝。
In one decade, he made four feature films and one TV series all of them amazingly consistent, all of them about how modern people cope with living multiple lives.
在十年的时间里，他拍摄了四部故事长片和一部动画片，所有这些作品都维持着惊人的水准，都是关于现代人如何应对多重身份的生活。
Private, public.
在舞台下和舞台上。
Offscreen, onscreen.
在屏幕外和屏幕内。
Waking, dreaming.
在梦醒时和梦境中。
If you’ve seen his work you’ll recognize this blurring of reality and fantasy.
如果你看过他的作品，就会明白他如何抹去了现实和幻想的界限。
Today, I’m only going to focus on one thing: his excellent editing.
而今天，我只会专注于一点：他出色的剪辑手法。
So as an editor, I’m always looking for new ways to cut especially from outside the realm of live-action.
作为一名剪辑师，我总是在寻找不同的剪辑手法，特别是在真人电影以外的作品中的剪辑。
Kon was one of the most fascinating.
今敏是最让我着迷的人之一。
His most noticeable habit was matching scene transitions.
他喜欢使用匹配转场，这令我印象深刻。
I've mentioned before that Edgar Wright does this for visual comedy.
我以前提到过，埃德加·赖特在视觉喜剧中运用了这种手法。
-Scott!
-斯科特！
-What?
-什么？
It's part of a tradition that includes The Simpsons and Buster Keaton.
《辛普森一家》和巴斯特·基顿也喜欢这种转场。
Kon was different.
而今敏不同。
His inspiration was the movie version of Slaughterhouse-Five directed by George Roy Hill.
他的灵感来自乔治·罗伊·希尔执导的电影《第五号屠宰场》。
-I can always tell, you know, when you've been time-tripping.
-你神游的时候，我都看得出来。
This is more of a sci-fi tradition that includes Philip K Dick and Terry Gilliam.
这不如说更像是菲利普·K·迪克和特瑞·吉列姆在科幻电影中所用的转场手法。
But even among peers, Kon pushed this idea pretty far.
但即使是同样的手法，今敏也是做得最好的一个。
Slaughterhouse-Five has basically three types of scene transitions: a general match cut...
《第五号屠宰场》基本上说有三种类型的转场：普通的匹配转场……
an exact graphic match...
同景别转场……
and then intercutting two different time periods, which mirror each other.
以及在不同时间发生的相似事件之间相互交切的相似体转场。
Kon did all of these things, but he would also rewind the film, cross the line into a new scene, zoom out from a TV, use black frames to jump cut, use objects to wipe frame, and I don't even know what to call this.
今敏也使用了这些方法，但他也会使用其它的技巧，例如时间倒退，越轴转场，将电视画面拉远，利用闪黑来跳剪，利用遮挡物体转场，还有这种我叫不上名字的转场。
To show you how dense this gets, the opening four minutes of Paprika has five dream sequences and every single one is connected by a match cut.
来看看这些转场的紧凑程度。《红辣椒》开场四分钟包含五个梦境，这五个梦境都是通过匹配转场连接在一起的。
Number six is not connected by a match cut, but there is a graphic match within the scene.
第六个梦境没有用匹配转场，但在场景中有相似的画面。
Just for comparison, the opening fifteen minutes of Inception has four interconnected dreams.
作为对比，《盗梦空间》开场十五分钟包含四个梦中梦。
Number of match cuts: one.
匹配转场的次数：一次。
-What is the most resilient parasite?
-最具韧性的寄生虫是什么？
Cuts like this aren’t uncommon, but they’re definitely not something most filmmakers build a style out of.
像这样的剪辑手法并不少见，但大多数电影制作人都不会在转场上形成什么独特的风格。
Usually you see them as one-off effects.
通常，它们的影响是一次性的。
Two of the most famous examples:
其中最有名的两个例子是：
Oh and this one because it's amazing.
还有这个，做得非常神奇。
Kon’s work was about the interaction between dreams, memories, nightmares, movies, and life.
今敏的作品是梦、记忆、噩梦、电影和生活之间的交织。
The matching images were how he linked the different worlds.
相似的场景让他将不同的世界联系在一起。
Sometimes he would stack transitions back to back, so you’d be getting used to one scene before you got thrown into the next.
有时他会不停地转场，所以你才刚适应一个场景，就被扔进了下一个场景里。
All of this made him really surprising to watch.
所有这些都让他的作品十分惊艳。
You could blink and miss that you’re in a different scene.
可能一眨眼的功夫你就进入了下一个场景。
