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Even when he wasn't dealing with dreams, Kon was an unusual editor.
今敏在梦境之外的剪辑也十分不同寻常。
He loved ellipses and would often just jump past part of the scene.
他喜欢省略，经常跳过一部分的场景。
So you’d see a character look at a key.
所以你可能会看到一个角色盯着钥匙。
You expect to see her take it, but that doesn’t happen.
你希望看到她拿起钥匙，但画面被跳过了。
The scene just moves on.
剧情只是继续往前。
Later on, in a different scene...
而在随后的另一幕……
Or you’d see a man jumping out of a window and fade out.
或者，你可能会看到一个人从窗户跳出去，然后画面淡出。
We’d then cut to a scene we didn’t understand, reveal that this is a dream, back out, and then show the conclusion of the previous scene.
切换到一个我们不认识的场景，说明这是梦境之中，然后画面跳转，向我们展示之前场景的结局。
Even things like murder, he would do the build-up and cut away.
即使是像谋杀这样的场景，他也会不断铺垫，然后跳过。
But he would show us the gory result.
但他会让我们看到血淋淋的结果。
I particularly love the way he handled character death.
我特别喜欢他处理角色死亡的方式。
Here, an old man dies and the windmills of his hut stop.
在这里，一位老人死了，他小屋里的风车停了下来。
Then it turns out he’s alive, so they start up again.
后来发现他还活着，所以风车又开始转动。
When we finish the scene, the windmill shot doesn’t repeat, but you’ll notice they aren’t moving, implying he is dead.
场景结束时并没有重复的风车镜头，但你会注意到风车没有在转动，暗示老人已经死了。
Kon also had a habit of starting scenes in close-up and you’d figure out where you were as the scene went on.
今敏还喜欢用特写镜头开始画面，你需要随着场景的推进猜测自己所处的位置。
Every once in a while, he’d use an establishing shot.
他偶尔会用定场镜头。
And then reveal that it was actually a point-of-view.
然后揭示出这实际上是一个角色的视角。
So without you noticing, he brought you into the character’s world.
他在你毫不知情的情况下，把你带进了角色的世界。
He was constantly showing one image and then revealing that it wasn’t what you thought it was.
他不断地展示特定画面，然后揭示事实并非如你所想。
Your experience of space and time became subjective.
你的时空感因此开始主观化。
He could also edit in ways that a lot of live-action filmmakers could not.
他还可以用很多真人电影制作人无法实现的剪辑手法。
During an interview, Kon said that he didn’t want to direct live action because his editing was too fast.
在一次采访中，今敏说他不想拍摄真人电影，因为他的剪辑节奏太紧凑了。
For example:
例如：
This shot of the bag is only 6 frames.
这个书包的镜头只有6帧。
For a comparable moment in live action that was 10 frames.
在真人电影里的类似镜头是10帧。
Or how about this insert of a note?
再比如藏起纸条的这个画面？
10 frames.
10帧。
But in live-action...
但在真人电影中……
49 frames.
49帧。
Kon felt that as an animator, he could draw less information in the shot, so your eye could read it faster.
今敏认为，作为一名动画师，他可以减少镜头中出现的信息，这样你的眼睛就可以更快接收这些信息。
You can actually see someone like Wes Anderson doing this in live-action removing visual information so his inserts “read" faster.
实际上韦斯·安德森等人在真人电影中也使用过这种技巧，移除视觉信息，让插入的镜头能够被更快接收。
It’s worth noting: you can actually cut much faster than this, but the images pretty much become subliminal.
值得注意的是：你可以进行更快速的剪辑，但画面会变得接近潜意识。
Some of these shots are 1 frame.
有些画面只有一帧。
None of this was for cheap effect.
这些绝非廉价特效。
Kon felt that we each experience space, time, reality and fantasy at the same time as individuals and also collectively as a society.
今敏认为，我们每个人，无论是作为个人还是社会集体的一份子，都能够同时体验空间、时间、现实和幻想。
His style was an attempt to depict this in images and sound.
他想要用画面和声音来描绘这一想法。
In the course of ten years, he pushed animation in ways that aren’t really possible in live action.
在十年的时间里，他用真人电影中无法做到的方式推动了动画的发展。
Not just elastic images, but elastic editing - a unique way of moving from image to image, scene to scene.
不仅是灵活的画面，还有灵活的剪辑——独特的画面及场景转换。
And he was helped in this crusade by the studio Madhouse, who did some of their finest work on his films.
在这场斗争中，他得到了Madhouse工作室的鼎力相助。
If you want to see a perfect summation of his work, I present his final film: a one-minute short about how we feel when we get up in the morning.
如果想对他的作品做一个完美总结，我推荐他创作的最后一部作品，这是一段一分钟的短片，讲述了我们早上起床时的感受。
This is Ohayou.
它就是《早上好》。
-Ohayou.
-早上好。
Farewell, Satoshi Kon.
再见，今敏。
