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And because these moments are repeated sparingly and deliberately in each movie the silence feels different and it's tied to a different theme.
因为斯科塞斯在每部电影中克制且刻意地运用这些沉默的时刻，不同电影中沉默的感觉不同，与不同的主题联系在一起。
It also lets the director build a cinematic structure around the use of sound.
它让斯科塞斯能够围绕声音的使用建立起了一种电影结构。
For instance, in Raging Bull, almost every fight scene is actually preceded by a quieter domestic moment.
例如，在《愤怒的公牛》中，几乎每个打斗场面都与一个安静的家中的时刻相对应。
This lets him do certain things like harsh cuts into punches.
这让他可以进行一些操作，例如突然从家中切换到拳击的镜头。
But it also underscores the theme of the film, which is that the violence in the ring is just an extension of the violence at home.
但这也突显了这部电影的主题，即拳击台上的暴力只是家庭暴力的延伸。
By the time he's attacking his brother, you actually hear the same sounds that you heard in the ring.
在主角攻击自己的兄弟时，你听到的音效和他在拳击场上的音效是一样的。
And it's not just Scorsese who does this kind of cinematic structure.
并不是只有斯科塞斯会利用这种电影结构。
For instance, Saving Private Ryan is bookended by two long battles.
例如，《拯救大兵瑞恩》在开头和结尾有两场大规模战役。
And in each battle, we get moment like this.
两场战役中，都有这样的一个时刻。
At the beginning of the movie, we don't know any of these people.
一开始，这些人我们一个都不认识。
And at the end, we know all of them.
到电影的结局，我们认识了所有人。
Now, you might disagree with my interpretation here, but I'm convinced this character knows he's going to die, and in both moments, he's accepting that and continuing to fight.
你可能不同意我在这里的理解，但我相信这个角色知道他会死，并且在这两个时刻，他都接受了这个现实，并选择继续战斗。
And I think it's a great example of using sound as an overall cinematic structure for the whole film.
我认为这很好地说明了如何用声音构建电影的整体结构。
I do want to point out, this stuff isn't just a matter of good sound mixing though there is that.
我想说的是，这一幕说明好的音响效果确实很重要，但这不是全部。
The sound mixers can't do this stuff if you design the movie with wall-to-wall dialogue, effects and music.
如果你设计的电影满是对白、特效和音乐，音响师就做不到这种效果。
-I don't have anything against a film being loud for a moment or two or a short period of time. I think that's completely appropriate.
-我并不反对一部电影有那么一两分钟或一小段时间声音很大。我认为这完全可以。
-But if you have a sequence that's loud for 20 or 30 minutes you've forgotten what it's like to be quiet and so nothing really seems loud because everything is loud.
-但如果连续20或30分钟全是巨大的音效声，你就会忘记安静是什么感觉，没有什么听起来声音很大，因为所有声音都很大。
In popular cinema, writers and directors have moved away from having any silence at all, or misusing the silence they do have.
在流行电影中，编剧和导演已经不会在电影中设计任何沉默的桥段，也不再滥用他们所拥有的沉默。
And this is something that gets appreciably worse each year.
这种情况一年比一年严重。
Consider.
让我们来看一看。
1978.
1978年。
You might find that a bit cheesy, but at least this movie is willing to use silence to make us feel the character's loss.
你可能会觉得这有点俗气，但至少这部电影愿意用沉默来让我们感受角色的失去。
And it's willing to stay with him through that entire silence.
并且愿意在整个沉默过程中展现演员的表演。
Meanwhile, in 2013.
同时，在2013年。
This might seem silent but there's always music underneath.
这看起来好像很安静，但背景音乐一直没停。
More importantly the "not-quite-silence" is used to reward the character: he murders someone and gets a hug for it.
更重要的是，这种“不太沉默的沉默”对角色来说是一种奖励：他杀了一个人，然后得到了一个拥抱。
But if you watch the whole movie literally ever time there's silence, he gets a hug.
如果你看过整部电影，就会发现每次沉默的时候，他就会得到一个拥抱。
So consider your silences and deploy them deliberately.
因此，思考一下沉默的意义，并有意识地利用它。
Don't cheapen them by overusing them for any dramatic scene.
不要在任何戏剧性的场景中滥用沉默，让它们失去价值。
If you can build the film, structure it, so that the silence derives from your characters and what they're feeling, then you get something better than just silence: an emotional reaction.
如果你能制作一部电影，建立它的架构，角色就能通过他们的感受来制造沉默，那么这时，你能得到的就不仅仅是沉默本身：还有情感反应。
-Which would be worse?
-哪一种更糟糕？
-To live as a monster or to die as a good man?
-是像怪物一样活着，还是像好人一样死去？
-Teddy?
-泰德？
