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Now, it's split.
现在，情况变得非常两极分化。
You got one branch of filmmaking that is trying to go faster, shorter, more chaotic.
一派导演喜欢节奏更紧凑、镜头时长更短、更混乱的拍摄手法。
And another that is almost willfully doing the opposite.
另一派几乎是故意在唱反调。
Some people are still in the middle.
还有一些人仍然处于中间状态。
Alfonso Cuaron comes to mind as someone trying to mine the long take for dramatic purposes.
阿方索·卡隆在人们心目中是一个擅长利用长镜头制造戏剧化效果的人。
But even Alfonso isn't trying to be invisible.
但就连阿方索也不会试图隐藏长镜头。
Hell, even Spielberg sometimes wants you to notice.
甚至斯皮尔伯格本人有时也想引起你的注意。
This one from Minority Report is practically a De Palma or Hitchcock shot.
《少数派报告》的这个镜头可以说是德·帕尔玛或希区柯克的经典角度。
This one from Duel is, I mean, it's almost like a slasher movie.
《飞轮喋血》中的这个镜头，几乎和暴力血腥的恐怖片一模一样。
This one from Always, which is a terrible movie, is done in sync with a 747.
《直到永远》是一部糟糕的电影，但这个镜头是与波音747同步完成的。
And this is just insane.
还有这个，就太夸张了。
But otherwise, Spielberg plays it quiet.
但斯皮尔伯格其它的长镜头就很低调。
Which is weird to say, because you know, Spielberg.
这么说很奇怪，因为你懂的，他可是斯皮尔伯格。
But compared to his peers, this technique, which he has been doing this for 40 years at this point, makes him stand out all the more.
但与其他导演相比，这个他已经实践了40年的拍摄技巧，让他更加脱颖而出。
-Which car were you planning on?
-你打算坐哪辆车？
-Whichever one you are.
-和你坐一辆。
So I guess that's maybe the closest I can get to defining a Spielberg oner.
所以我能想到的，对斯皮尔伯格的长镜头最准确的定义是。
It uses any and all possible tricks to remain invisible.
它尽己所能消除自己的存在感。
So if you're a director and you want to pull off a Spielberg oner, there’s only a few simple rules to follow.
因此，如果你是一名导演，想成功拍摄一个斯皮尔伯格式的长镜头，你要遵循几条简单的规则。
First, move your actors.
首先，让演员动起来。
Move 'em around.
让他们多走位。
Don't just have them stand there and talk like they're in a 2014 blockbuster.
不要像2014年那些卖座的影片里一样，让演员就站在一个地方说话。
-Don't mind him.
-别管他。
-English humor?
-英式幽默？
-Scottish whiskey.
-苏格兰威士忌喝多了。
Second, follow that movement.
第二，让镜头跟随演员的运动。
The camera doesn't have to follow on a leash, it can swing around, it can move counter to them, it can track laterally, whatever.
摄像机不一定要亦步亦趋，它可以摆动，可以反向，或者横向移动等等。
But watch the scene and place the camera accordingly.
但要根据场景，合理地摆放镜头。
Third, break down the shot into multiple compositions and smaller angles.
第三，将镜头分解成多个部分和较小的拍摄角度。
You are essentially linking five or six different shots into a single moving master.
拍摄长镜头实际上是用一个移动的主镜头将五到六个独立的镜头连接在一起。
So you can think in terms of single, over-the-shoulder, insert, wide.
所以你可以使用单人镜头，过肩镜头，插入镜头，广角镜头等等。
It all flows together.
让这些镜头完美地融合在一起。
-Ah, Frank.
-啊，弗兰克。
Oh, and if you can accomplish all this without even moving the camera?
如果你可以在不移动相机的情况下做到这些呢？
Even better.
那就更好了。
-All of you?
-你们所有人？
Fourth, do your vis FX or special FX, anything you need to keep the "magic" alive, do it in the wide shot.
第四，只要是拍摄想制造神秘感的内容，例如特殊声音效果或特殊视觉效果，用广角镜头。
Don't cheat and construct your elements out of close-ups and cutaways, put 'em in the wide shot and let the actors interact with them.
不要用特写和切出镜头欺骗观众或编造谎言，把它们放在广角镜头中，让演员与它们互动。
And don't fucking green screen shit that should be practical.
不要在用道具就可以的地方用垃圾绿幕。
The audience can tell when an actor is reacting to something that's there versus something that isn't.
观众可以通过演员的反应分辨出他们对面的东西到底是不是真的存在。
Fifth, if you need to, shoot a cutaway.
第五，如果有需要，用切出镜头。
All of the shots in this video are completely unbroken takes, but Spielberg isn't stupid.
这段视频中的所有镜头都是完整连贯的镜头，但斯皮尔伯格不傻。
He often shoots an insert or a cutaway for a oner even if he's sure they nailed it.
他经常在长镜头中加入一个插入镜头或切出镜头，即使他确信长镜头就已经够用了。
This gives him the ability to tighten in editing if he needs to, or perhaps use the beginning of one take and the end of another.
这让他在剪辑时留有加快内容节奏的空间，或者可能把一个镜次的前半部分和另一个镜次的后半部分剪到一起。
It also helps if he needs someone to hit a particularly difficult mark, like making a gun land in the right spot.
如果他需要演员完成高难度动作，比如让枪落在合适的位置，这种方法也很有用。
-Cautious fellow I am.
-我是个谨慎的人。
And last, keep it short.
最后，让长镜头短一点。
Don't outstay your welcome.
见好就收。
The Spielberg oner is designed to get through scenes quickly and keep the pace up.
斯皮尔伯格的长镜头是为了快速完成场景的同时保持节奏。
You should not be spending an entire day trying to get it perfect.
你不应该为了拍一个完美的长镜头花上一整天的时间。
That's for shit like this.
这种破电影才会这样拍。
So in conclusion, I understand that there's sometimes a lot of backlash with regards to talking about Spielberg as a serious artist.
总而言之，我知道如果把斯皮尔伯格称作严肃的艺术家会引起很大的争论。
I mean, sometimes the sentimental stuff is a little hard to swallow.
我是说，有时候太煽情的东西确实有点难以接受。
I'm not gonna talk about his legacy, but I do think he should be celebrated for his oners.
我不想谈论他的历史地位，但我确实认为他的长镜头值得称赞。
Especially considering it's a technique generally abandoned by mainstream directors for either this kinda incomprehensible bullshit or this really good, but also really noticeable style.
尤其是考虑主流导演普遍抛弃了这种拍摄技巧，转而去拍摄这种令人费解的垃圾，或者这种看起来不错，但太过招摇的镜头。
Ironically, this dude, who was once considered responsible for destroying 70's Hollywood filmmaking, is probably the greatest living practitioner of a classic Hollywood tradition.
讽刺的是，这位曾被认为毁掉70年代好莱坞电影制作的人，可能是目前在世的，最伟大的好莱坞经典传统的实践者。
I wonder if he feels sad about that.
不知道他是否会为此感到难过。
Fuck that, he's rich!
去它的吧，他有钱得很呢！
