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-Thank you, sir.
-谢谢，先生。
-Alright. See you later, thanks.
-好的，回头见，谢谢。
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's topic is the oner, AKA a long take.
今天的话题是“一镜到底”，也就是长镜头。
This is probably the most jerked-off-to type of shot in filmmaking.
这可能是电影制作中最被捧上天的镜头了。
But basically, all it means is doing an entire scene in a single, unbroken shot.
但基本上来说，一镜到底就是在一个不间断的镜头中完成整个场景的拍摄。
And let's face it, it's pretty awesome.
老实说，这确实很棒。
We all have our favorites.
我们都有自己的最爱。
There's six dozen lists on the internet about this.
互联网上列出的用过一镜到底的电影有六七十部。
But we tend to notice the ones that draw attention to themselves.
但我们注意到的往往是那些想要引起我们注意的。
So let's skip all of these guys and go to one filmmaker who does oners all the time, except his goal is to remain invisible.
因此，让我们跳过这些导演，来关注一位一直在拍摄长镜头，但不想让我们注意到它的电影制作人。
This dude.
就是他。
Truthfully, Spielberg's takes aren't even that long.
老实说，斯皮尔伯格的长镜头并不会太长。
He tends to keep them less than 3 minutes.
他倾向于拍摄3分钟以内的长镜头。
In fact, he really likes that one minute to two-minute zone, which is long enough to cover an entire scene, but short enough to keep the pace brisk.
事实上，他很喜欢一分钟到两分钟这个时长，这个时长足以拍摄整个场景，但又不会太长，能够保持节奏的轻快。
And while other directors seem to have a dominant formal technique to their long takes - for instance, Wes Anderson likes to move laterally, the only thing that really defines a Spielberg oner is that it's supposed to be invisible.
虽然其他导演似乎也有喜欢的长镜头拍摄的形式化技术——例如，韦斯·安德森喜欢拍横移的长镜头，但斯皮尔伯格的个人特色在于，他拍摄的长镜头是隐形的。
So maybe I'm full of shit for even saying it exists.
所以我说斯皮尔伯格一直在拍长镜头这件事可能就是在胡扯。
Now, I'm gonna cut these shots down for this video, but if you want to see the full scenes, I've put them all in two separate videos linked below.
为了配合视频解说，下面的镜头都存在删减，如果你想观看完整的内容，我把它们放在了简介的两个链接里。
First off, a shot from Raiders of the Lost Ark.
首先，来自《夺宝奇兵》的镜头。
This is a single unbroken, 90-second take.
这是一个90秒不间断的镜头。
The great thing about it is that it's basically four different shots in one: there's a push-in, two matching singles, and an insert.
这个镜头的高明之处在于，它基本上是四个不同镜头的结合：一个推入，两个对应的单人镜头，和一个插入镜头。
So Spielberg combines all four into a single moving master.
斯皮尔伯格用单一移动主镜头将这四个镜头融合在了一起。
It's really simple and elegant, and it probably saved a bunch of time on set.
简单而优雅，并且可以节省大量拍摄时间。
Also, it really works for the scene, because there's suspense in the drinking contest.
此外，它很适合这个场景，因为喝酒比赛会提供悬念。
And no matter how many times I watch it, I still forget the exact timing, so it's always funny when this happens.
不管看了多少遍，我都会忘记时间的流逝，所以每次看到这里时，我都觉得很好笑。
Next up is a shot from Minority Report.
接下来是《少数派报告》的一个镜头。
This time, they're on a steadicam.
这一次，导演用了摄影机稳定器。
But notice how the camera never moves unmotivated.
但请注意，相机不是在漫无目的地移动。
It's always following a motion or an action.
它随着人物的动作或行为运动。
-Hold that, please.
-请等一下。
The pacing is fantastic, you really get the sense that the scene is unfolding in front of you, rather than a cameraman hitting his marks.
这种节奏很棒，你能感觉到故事正在你面前展开，而不是摄影师在完成任务。
-You're in a lot of trouble, John.
-你有大麻烦了，约翰。
The blocking of the actors is really fluid and the shot goes from favoring one character...
演员的走位十分流畅，镜头从偏向一个人物……
to favoring another.
转为偏向另一个人物。
-Seems I've found a flaw.
-看来我找到瑕疵了。
Flashing back in time, this is Jaws.
回到过去，到《大白鲨》。
The great thing about this one is how restrained it is.
这个镜头的高明之处在于它非常克制。
The cameraman barely moves.
摄影师几乎没有动。
All of the movement is in the blocking of the actors and specially, the really smart choice of location.
所有的运动都依靠演员的走位，拍摄的位置也选择得特别好。
By shooting on a real ferry, Spielberg can use the background action to keep the pace snappy.
斯皮尔伯格在真实的渡轮上拍摄，用背景的变换来保持节奏。
One of the reasons I forgot how long this shot is is because the background keeps shifting and you're always looking at something new.
我忘记这是个长镜头的原因之一就是背景在不断变化，场景中总会出现新的东西。
-You yell "shark", we've got a panic on our hands on the 4th of July.
-你喊出“鲨鱼”，独立日就满城人心惶惶。
Next up, Saving Private Ryan.
接下来是《拯救大兵瑞恩》。
One of the hallmarks of a Spielberg oner is that he tends to do almost all of his special FX or his vis FX in the master.
斯皮尔伯格拍摄长镜头的特点之一是，他喜欢把大量特殊声音效果或特殊视觉效果都放在主镜头中。
And this one's a doozy.
这一段很了不起。
Explosions, rubble, dust, smoke, gunfire, squibs, and you know...
爆炸、瓦砾、灰尘、烟雾、枪声、爆炸，还有你知道的……
a tank.
一辆坦克。
Good shit.
漂亮。
Now, I do want to emphasize, Spielberg did not invent this type of shot.
现在，我想强调一点，这种拍摄方式不是斯皮尔伯格发明的。
In fact, it used to be a very common choice.
事实上，这在曾经的电影中非常常见。
-How about you, handsome?
-你呢，帅哥？
-Haven't I seen you somewhere before?
-我以前是不是在什么地方见过你？
In the 40s and 50s and 60s, studio directors frequently employed a moderate-length oner to move the story along.
在40、50和60年代，电影制片厂的导演经常用一个适当长度的长镜头来推动故事的发展。
-How do you like this?
-你觉得这个怎么样？
-I'm running outta alibis.
-我快要没借口了。
But really, beginning with Rope and Touch of Evil, the oner became a calling card for directors.
但实际上，从《夺魂索》和《触摸恶魔》开始，长镜头成了导演们的名片。
Audiences noticed it, film critics and students got raging hard-ons for it, and for the last 50 years, it's been a game of one-upmanship.
观众注意到了这一点，影评人和学生对此大肆吹捧，过去的50年里，这成了一场导演们争先恐后想要取胜的竞赛。
Yours is 3 minutes?
你的长镜头有3分钟？
Well mine's 17.
好，我的有17分钟。
Hitchcock did a movie seemingly in one take?
希区柯克拍了一部看上去像一镜到底的电影？
Well we did it actually in one.
好，我们就拍一部真的。
Now, I'm not saying that these long takes are bad.
我不是说这些长镜头不好。
Most of them are fun as shit.
他们中的大多数都有趣至极。
All of them are a little awe-inspiring.
都有些令人生畏。
But there used to be a real type of shot in at least American cinema that was… for lack of a better word, really robust.
但至少在美国电影中，有一种拍摄手法很……很难找到更好的形容词，它们很扎实。
Like, it didn't break down.
它不会出问题。
It worked, it got the job done.
能起效，能实现拍摄目标。
It was always interesting to watch.
这些镜头总是很有趣。
It didn't call attention to itself.
它本身不会引起人们太多注意。
You know, you could rely on it.
你知道，它值得信赖。
