答不出这6个问题，你的故事就不成立—编剧大师格伦 •格斯的叙
字幕摘录
| 时间 | 英文 | 中文 |
|---|---|---|
| 0:00 | How do you define story and how do you teach it to clients and students? | 如何定义故事,如何向客户和学生传授? |
| 0:05 | I think the basic idea of a story is going to be that you are following a character or | 我认为一个故事的基本想法是 你要跟随一个角色或 |
| 0:11 | characters. | 字符键。 |
| 0:12 | It is entirely possible to tell a story of multiple characters. | 完全可以讲述一个多个人物的故事. |
| 0:15 | You don't only have to tell one person's story. | 你不只是要说一个人的故事 |
| 0:18 | It's nice, you can do it, but it's also possible to tell a story with 11 main characters. | 它很好,你可以做到这一点,但也有可能讲述一个故事,有11个主角. |
| 0:24 | It takes a lot of work, you have to follow each main character and follow their story | 这需要大量的工作, 你必须跟随每个主角 并跟随他们的故事 |
| 0:29 | all the way through the narrative. | 一直通过叙述。 |
| 0:32 | But in fact I believe any story is really about how a character trying to accomplish | 但事实上我相信任何故事都是关于 一个人物如何尝试完成 |
| 0:37 | something runs into other people who either help or harm their intention. | 有些东西会碰到其他人 帮助或伤害他们的意图。 |
展开字幕全文（251 条）
| 序号 | 英文 | 中文 |
|---|---|---|
| 1 | How do you define story and how do you teach it to clients and students? | 如何定义故事,如何向客户和学生传授? |
| 2 | I think the basic idea of a story is going to be that you are following a character or | 我认为一个故事的基本想法是 你要跟随一个角色或 |
| 3 | characters. | 字符键。 |
| 4 | It is entirely possible to tell a story of multiple characters. | 完全可以讲述一个多个人物的故事. |
| 5 | You don't only have to tell one person's story. | 你不只是要说一个人的故事 |
| 6 | It's nice, you can do it, but it's also possible to tell a story with 11 main characters. | 它很好,你可以做到这一点,但也有可能讲述一个故事,有11个主角. |
| 7 | It takes a lot of work, you have to follow each main character and follow their story | 这需要大量的工作, 你必须跟随每个主角 并跟随他们的故事 |
| 8 | all the way through the narrative. | 一直通过叙述。 |
| 9 | But in fact I believe any story is really about how a character trying to accomplish | 但事实上我相信任何故事都是关于 一个人物如何尝试完成 |
| 10 | something runs into other people who either help or harm their intention. | 有些东西会碰到其他人 帮助或伤害他们的意图。 |
| 11 | It's sort of like Isaac Newton's theory of the billiard balls. | 这有点像艾萨克·牛顿对台球的理论. |
| 12 | Once they get set in motion they will roll in that same direction because they are being | 一旦他们开始行动,他们就会朝着这个方向前进,因为他们是 |
| 13 | pushed by a physical force and I think a character is also doing that. | 由身体力量推动 我认为一个角色也在这样做 |
| 14 | They are trying to get somewhere and they are rolling in a certain direction until either | 他们正试图找到某处, 他们正在向某个方向滚动,直到任何一种 |
| 15 | they hit something or something comes along and knocks into them and then that changes | 他们撞到东西 突然撞到它们 然后就变了 |
| 16 | their direction. | 他们的方向。 |
| 17 | But they are still trying to get to that one place. | 但他们仍在试图去那个地方 |
| 18 | The physics kind of falls apart there because billiard balls aren't trying to get anywhere. | 因为台球没有去任何地方 所以物理学就在那里崩溃了 |
| 19 | But the idea that things are moving until they run into something else which is also | 但这种想法是事物在移动 直到它们遇到其他的东西,这也是 |
| 20 | moving is sort of how characters work. | 移动就是角色的工作方式 |
| 21 | Every character thinks they are the main character. | 每个角色都认为他们是主角. |
| 22 | If you have your hero walk into a hotel and try and get a hotel room, that hotel clerk, | 如果你有你的英雄走进酒店 并试图得到一个酒店房间, 该酒店职员, |
| 23 | they think they are the center of the movie because they are the center of their story. | 他们认为他们是电影的中心 因为他们是故事的中心。 |
| 24 | And this person coming up to them is either getting in their way or they are trying to | 而这个接近他们的人 要么阻止他们 要么他们试图 |
| 25 | charm them or whatever it is that they are doing, they are trying to do something. | 迷惑他们 或不管他们在做什么, 他们试图做一些事情。 |
| 26 | And that interchange is the basic building blocks of story, that's what you call dramatic | 那个交换是故事的基本构件, 这就是你所谓的戏剧性 |
| 27 | action. | 行动。 |
| 28 | Someone trying to accomplish something which mostly involves interacting with other people. | 有人试图完成一些 主要是与其他人的互动。 |
| 29 | Sometimes the action can be I have to take this suitcase and put it on a train, whatever. | 有时候我不得不把箱子放在火车上 随便你 |
| 30 | But it will still be I have a thing I am trying to accomplish and that's what story is. | 但我还是有件事情要完成 那就是故事 |
| 31 | I have a thing I am trying to accomplish, I am a character and I need to get this thing | 我有件事情要完成,我是个角色 我需要得到这个东西 |
| 32 | and it will be a more interesting story if there is something in the way. | 如果有碍事,那会更有趣 |
| 33 | If I am a character and I am trying to put a suitcase on a train and I go and I put it | 如果我是个角色,我想把行李放在火车上,我就去,放进去 |
| 34 | on the train and nothing happens, it's a very short, boring story. | 在火车上,什么都没有发生, 这是一个非常简短,无聊的故事。 |
| 35 | If they are carrying a suitcase and another person comes and they steal the suitcase, | 如果他们携带一个手提箱 而另一个人来 他们偷了手提箱, |
| 36 | it's more of an interesting story. | 这是一个有趣的故事。 |
| 37 | And it's a more interesting story if that person has got something important in the | 如果这个人有重要的事情 |
| 38 | suitcase. | 手提箱 手提箱 手提箱 |
| 39 | If it's just a suitcase they can say oh somebody stole it, oh well I will go get another one. | 如果只是一个箱子,他们可以说,哦,有人偷了它, 哦,好吧,我会去得到另一个。 |
| 40 | Not that strong a story. | 不是这么强烈的故事。 |
| 41 | Every story is about a character trying to accomplish something and having an obstacle | 每个故事都是关于一个人物 试图完成一些事情 并有一个障碍 |
| 42 | and what they do, what action they take in the face of the obstacles is your story. | 他们所做的,他们面对障碍采取的行动 就是你们的故事。 |
| 43 | The obstacles don't have to be external. | 障碍不须外道. |
| 44 | The obstacle can be I am really afraid of the train station. | 我对火车站非常恐惧 |
| 45 | I need to get this suitcase to my uncle and he is going to be at the other end of the | 我要把这个箱子交给我叔叔 他就会在另一端 |
| 46 | train so I have got to get this suitcase onto the train but I am terrified of loud noises. | 火车 所以我得把这箱子送上火车 但我害怕吵闹 |
| 47 | That's a story. | 这是一个故事。 |
| 48 | The only obstacle is in there but it's real. | 唯一的障碍是在那里,但它是真实的。 |
| 49 | So every character is facing obstacles. | 所以每个角色都面临着障碍。 |
| 50 | The obstacles don't have to be physical. | 障碍不须体性. |
| 51 | They don't have to be another character. | 他们不必是另一个角色。 |
| 52 | They just have to be something that's getting in the way of them trying to accomplish something | 他们只是必须做一些 阻碍他们尝试做一些事情 |
| 53 | that's important to them. | 这对他们很重要。 |
| 54 | Can you explain how questions and choices inform the writing process? | 你能解释问题和选择如何贯穿写作过程吗? |
| 55 | Writing is a process of questions. | 写作是一个提问的过程. |
| 56 | There's a couple of things that I wish I could get tattooed on the inside of people's | 有几件事情我希望能在人们的内心中纹身 |
| 57 | eyelids that they knew. | 他们所知道的眼皮 |
| 58 | Think in scenes and writing is a process of questions. | 在场景和写作中思考是一个问题的过程. |
| 59 | It's not a thing you have to fill out. | 这不是你必须填写的东西。 |
| 60 | It's not a form that you have to fit into. | 这不是一种你必须适应的形式。 |
| 61 | Writing is a question, is always a process of having something. | 写作是一个问题, 总是一个有东西的过程。 |
| 62 | It could be just I want to write a Western or I want to talk about how love hurts or | 可能是我想写个西语 或者想谈谈爱情有多疼 |
| 63 | I want to talk about how love saved my life. | 我想谈谈爱情是如何拯救我的 |
| 64 | Whatever it is that you start with then you start to ask questions. | 不管是什么,你先问,然后问问题。 |
| 65 | How am I going to tell this story? | 我要怎么讲这个故事? |
| 66 | Am I going to tell it through a character who gets it or a story who doesn't get it? | 我是不是要通过角色来告诉它 谁得到它或故事 谁没有得到它? |
| 67 | Everything is going to be a choice. | 一切都将是一个选择。 |
| 68 | Every question that you ask, if you write down that question, how am I going to tell | 你问的每一个问题,如果你写下这个问题, 我将如何告诉 |
| 69 | this story? | 这个故事? |
| 70 | Who is the main character? | 主角是谁? |
| 71 | Everything is a question and those questions are who is it about? | 一切都是一个问题,那些问题是谁的问题? |
| 72 | What do they want? | 他们想要什么? |
| 73 | Why can't they get it? | 为什么他们得不到? |
| 74 | What do they do about that? | 他们怎么办? |
| 75 | And how does it end? | 结局如何? |
| 76 | I think I skipped one. | 我想我跳过一个。 |
| 77 | But oh, why doesn't that work? | 但为什么这样不行? |
| 78 | Right. | 对 |
| 79 | Who is it about? | 是关于谁的? |
| 80 | What do they want? | 他们想要什么? |
| 81 | Why can't they get it? | 为什么他们得不到? |
| 82 | What do they do about that? | 他们怎么办? |
| 83 | Why doesn't that work? | 为什么不行? |
| 84 | How does it end? | 如何结束? |
| 85 | I did a whole video on this called the six essential questions. | 我做了一个完整的视频 关于这叫做六个基本问题。 |
| 86 | So I explained it better there. | 我在那里解释得更好 |
| 87 | But those six questions basically will help you write anything. | 但是这六个问题 基本上会帮助你写任何东西。 |
| 88 | They'll help you write a movie. | 他们会帮你写电影的 |
| 89 | They'll help you write a video game. | 他们会帮你写电子游戏 |
| 90 | I'll help you write a series because that's the essential thing that you get of how am | 我会帮你写一个系列 因为这就是你了解的 |
| 91 | I going to turn whatever feeling or idea I have into a story is a person who is trying | 我要把我所有的感觉或想法 变成一个故事 一个正在尝试的人 |
| 92 | to do something to get something and there's something in the way. | 做一些事情来得到一些东西 和有碍的东西。 |
| 93 | And then eventually something will end it. | 最终会有结果的 |
| 94 | Either the end will be I don't get it or I do get it. | 要么我听不懂 要么我听不懂 |
| 95 | And whatever they do that they had never tried before is how it ends. | 他们以前所未尝试的,无论怎样。 |
| 96 | Because if they had tried it before it would end before. | 因为如果他们在试验之前就试过了 在试验之前就结束了 |
| 97 | So who is it about? | 那是谁? |
| 98 | What do they want? | 他们想要什么? |
| 99 | What do they do? | 他们做什么的? |
| 100 | Why doesn't that work? | 为什么不行? |
| 101 | What do they finally do? | 他们最终会做什么? |
| 102 | What is the end? | 结局是什么? |
| 103 | That's storytelling. | 这就是讲故事。 |
| 104 | And it can work for three acts or 27 acts or one act. | 而能为三种行为或27种行为或一种行为发挥作用. |
| 105 | It always works. | 它总是工作。 |
| 106 | It's my go-to set of questions. | 这是我的问题 |
| 107 | And then just keep asking questions. | 然后继续问问题 |
| 108 | Who is it about? | 是关于谁的? |
| 109 | It's about a plumber. | 是关于水管工的 |
| 110 | Where is he from? | 他从哪里来? |
| 111 | Just ask. | 便问. |
| 112 | Who? | 谁? |
| 113 | What? | 你说什么? |
| 114 | Why? | 为什么? |
| 115 | Where? | 哪里? 哪里来的? |
| 116 | And just keep asking why. | 继续问原因 |
| 117 | Why is he afraid of heights? | 为什么他怕高? |
| 118 | Why does he love this particular person? | 为什么他喜欢这个人? |
| 119 | Every time you ask a question and you get a specific answer you're moving closer to | 每次你问一个问题,你得到一个具体答案,你就会更接近 |
| 120 | writing a scene. | 写一个场景。 |
| 121 | What's the easiest way for someone to figure out an enjoyable writing process for themselves? | 什么样的方法最容易让某人为自己找出一个令人愉快的写作过程呢? |
| 122 | The first important thing about your process is recognizing that it's yours, that there | 你过程的第一要务是认识到 这是你的,在那里 |
| 123 | is not a right or wrong way. | 这不是一个对或错的方法。 |
| 124 | Some people write at night. | 有些人晚上会写信 |
| 125 | Some people write in the day. | 有些人在白天写作。 |
| 126 | Some people write in short bursts. | 有些人写短片 |
| 127 | Some people write in long extended bursts. | 有些人写长篇大论 |
| 128 | It's no particular better or worse process. | 这不是一个特别的更好或更糟糕的过程。 |
| 129 | The important thing about a process is it's something that you can do relatively easily | 一个过程很重要的一点是 它可以比较容易地做 |
| 130 | for whatever reason it works for you. | 不管是什么原因 对你有用 |
| 131 | And that means you have to spend time paying attention to yourself, trying different things | 这意味着你必须花时间 关注自己,尝试不同的事情 |
| 132 | and seeing which ones work and which ones don't work. | 看哪一个工作,哪一个不工作。 |
| 133 | And being really honest about that, I personally turn out to write very well in short bursts. | 老实说,我个人在短短的时间内写得很好。 |
| 134 | I thought I should do more because when I'm writing in a short burst it's like, holy crap, | 我觉得我应该做更多的 因为当我写在短短的爆发, 这就像,神圣的废话, |
| 135 | if I could keep doing this for eight hours I'd be a miracle. | 如果我能持续8小时 我会是一个奇迹。 |
| 136 | But I can't. | 但我办不到 |
| 137 | And I would sit there and I would grind. | 我会坐在那里,我会磨。 |
| 138 | After the burst was running down I would grind and not only would that be unproductive | 爆破后我会磨碎 不仅没有效果 |
| 139 | and begin to be disheartening, but I would start to undo my good work. | 并开始沮丧, 但我会开始取消我的好工作。 |
| 140 | Because when you start to grind in a bad way you start to doubt, you start to feel bad | 因为当你开始以不好的方式磨, 你开始怀疑, 你开始觉得不好 |
| 141 | and you say, well, I must be feeling bad because this work is bad, which is not necessarily | 你说,嗯,我一定是觉得不好 因为这个工作不好,不一定 |
| 142 | the case. | 这个案子 |
| 143 | It could be that your process is bad. | 可能你的过程很糟 |
| 144 | And so what I would do is I would write something really good and then I would grind until I | 所以我会做,我会写的东西 真的好,然后我会磨 直到我 |
| 145 | was unhappy and then I would say, oh, that sucks. | 不开心,然后我会说,哦,那很烂。 |
| 146 | And then I would write something over it and destroy my own good work. | 然后,我会写一些东西 在上面,破坏我自己的好工作。 |
| 147 | And it took me a long time to pay attention to the fact that I do really well in short | 我花了很长的时间 才注意到一个事实,我做得很好 |
| 148 | bursts. | 冲浪。 |
| 149 | And if I stop when I feel myself starting to lose it, take a break, take a walk, do | 如果我觉得自己开始失去它 就停下来,休息一下,走走,做 |
| 150 | exercises, whatever, I can then come back and do another short burst. | 练习什么的,我可以回来 做另一个短暂的爆发。 |
| 151 | Getting myself to sit down again is rough, but that's the thing I had to teach myself | 让我自己再坐下来是很难的 但我必须教自己 |
| 152 | by paying attention to what worked. | 注意什么是行之有效的。 |
| 153 | I've gotten much more productive since I learned my process. | 自从我学会了这个过程之后,我的工作就更有成效了。 |
| 154 | It's not for everyone. | 不为众生. |
| 155 | Everyone will have a process that's dependent on their own inner mechanisms and on their | 每个人都会有一个过程 依赖于自己的内在机制 |
| 156 | own reality. | 自己的现实。 |
| 157 | Some people only have free time on weekends. | 有些人周末才有空闲时间. |
| 158 | Some people only get a little bit of free time in the evenings. | 有些人只在晚上有一点空闲时间. |
| 159 | And so they have to find a way to work at the time that they are allowed by their life. | 因此,他们必须在他们的生命允许的时候找到一种工作方式。 |
| 160 | You have to pay attention to reality and pay attention to your own inner working. | 你必须注意现实,注意自己的内在工作. |
| 161 | And the best way to find out is to do it and see how it goes. | 且道最妙解脱法是作么生见如何. |
| 162 | It's always better to try and do some work and see how it goes. | 努力做一些工作,看看情况,总是比较好. |
| 163 | You'll never get to the place where you absolutely know that you can write and then you start | 你永远到不了你绝对知道可以写到的地方 然后开始 |
| 164 | writing. | 写作。 |
| 165 | It's always a question of, let me try this, see what comes out. | 这总是个问题,让我试试,看看有什么结果 |
| 166 | That's the best test of a process. | 这是对一个过程的最佳考验. |
| 167 | And working these temp jobs, for many other reasons aside from income and people, the | 从事这些临时工作, 除了收入和人之外,还有许多其他原因, |
| 168 | study of people, helped you realize that was your preferred style? | 研究人,帮助你意识到 这就是你喜欢的风格? |
| 169 | Forced me because I'm stubborn and I would just keep doing the wrong thing over and over | 强迫我是因为我固执 我总是做错事 |
| 170 | again until circumstances forced me to work in short bursts. | 直到我突然间被迫工作为止 |
| 171 | And then I was like, wow, that actually is better. | 然后我就想,哇, 这其实是更好的。 |
| 172 | Trying to be open to your process, trying to pay attention to what actually makes the | 尝试对你的过程开放, 试图关注什么是真正的 |
| 173 | work good, what feels good, feeling good is underrated. | 工作好,感觉好,感觉好被低估了。 |
| 174 | Like the fact that you have to learn to write when you don't feel good. | 就像你感觉不好的时候必须学会写作 |
| 175 | For me, having a process that I can say, I always have five basic documents that I open | 对我来说,有一个我可以说的过程, 我总是有五个基本文件 我打开 |
| 176 | like an outline, a place where I write notes and the text itself and a sort of overview. | 就像一个大纲,一个我写笔记的地方, 和文本本身, 以及某种概述。 |
| 177 | I'm going to be doing a video on this actually soon but that's my personal setup. | 我马上就要拍视频了,但这是我的个人设定。 |
| 178 | Everyone has their own. | 每个人都有自己的 |
| 179 | But what you need to do is find a thing that so you always when you open that notebook | 但你需要做的是找到一件东西 所以你总是打开笔记本 |
| 180 | you're not thinking about anything except the contents of the work. | 除了作品的内容 你什么都不想 |
| 181 | You know, ah, this is the outline. | 你知道,啊,这是大纲。 |
| 182 | The outline is going to be broken into scenes and the scene lines are going to look like | 提纲要拆成场景 场景线要看起来像 |
| 183 | this and I don't have to think about that. | 这个我不用想这个 |
| 184 | I have to think about what's in the scene. | 我得考虑一下现场的情况 |
| 185 | That's the best way to find a process is to get something that works for you. | 这是找到一个过程的最好方法 就是得到一些对你有用的东西. |
| 186 | Some people will do it on their phone. | 有些人会用电话做 |
| 187 | Some people will do it. | 有些人会这么做的 |
| 188 | I would advise doing it in some way that it's written down in some form, digitally, on | 我建议你用某种方式写下来 数字化的 |
| 189 | paper, on note cards. | 纸质纸质纸质纸质纸质纸质纸质纸片 |
| 190 | It doesn't matter. | 没关系 |
| 191 | What matters is that you get it out of your head and into the world in some way that you | 重要的是,你把它从你的头 和进入世界的方式,你 |
| 192 | can set it aside and come back to it, set it aside, come back to it because with almost | 把它放在一边,然后回来, 把它放在一边,回来,因为几乎 |
| 193 | anything you're going to have to. | 任何你必须做的。 |
| 194 | You can't do it all at once. | 岂能一时俱得. |
| 195 | When did you have that aha moment that I don't have writer's block and my anxiety was although | 你什么时候有那个时刻 我没有作家的阻隔 我的焦虑是虽然 |
| 196 | it was real, it was just that wasn't my style of writing to sit at my desk at my parents | 这是真实的,它只是那不是我的风格 写在我桌上坐在我的父母 |
| 197 | basement or wherever and have the perfect music and iced tea. | 地下室或者任何地方 都有完美的音乐和冰茶 |
| 198 | That actually wasn't working for me. | 这实际上不为我工作。 |
| 199 | It was unfortunately not an aha moment. | 很遗憾,那不是个美好的时刻。 |
| 200 | It was an aha a couple of years and I think that that's actually sort of a misleading | 几年来,我觉得这有点误导 |
| 201 | thing that our culture has developed from movies that there's a decisive moment and | 我们的文化从电影中发展而来 有决定性的时刻 |
| 202 | you are always changed. | 你总是被改变。 |
| 203 | In stories that is a very important thing. | 在故事中 这很重要 |
| 204 | You need decisive moments when people are changed but in truth it's more like a series | 你需要一个决定性的时刻 当人们被改变 但事实上,它更像一个系列 |
| 205 | and I have a couple seasons where I get a little bit of it then I fall back into my | 我有一对夫妇的季节 我得到一点点它,然后我回到我的 |
| 206 | old ways and then I have some reward or I think of something new and it's a process | 旧的方式,然后我有一些奖励 或者我想到一些新的东西 这是一个过程 |
| 207 | in which you try to do two steps forward, one step back instead of the other way around | 你试图向前两步 退后一步 而不是另一步 |
| 208 | because you're trying to head forward. | 因为你想向前走 |
| 209 | You do a little forward, you fall back, you go a little forward and the main way it always | 你往前走,往后退,往前走,然后往前走 |
| 210 | is the doing of it. | 这是它的行为。 |
| 211 | Just throw something on the paper even if it's just and I have done this. | 只要在报纸上扔点东西 即使它只是,我已经这样做。 |
| 212 | I've written a scene where I say this is the scene where he comes home and is miserable | 我写了一个场景,我说这就是他回家的场景,很悲惨 |
| 213 | and I just took it out of the outline and I wrote it into the script because the next | 我把它从提纲上取出来,然后写成剧本 因为下一个 |
| 214 | time I look at it I now am familiar with this process and I say okay I created a scene. | 我现在熟悉这个过程了 我说好的 我创造了一个场景 |
| 215 | The scene is a description, this is where he comes home and is miserable. | 场景是一个描述,这就是他回家的地方,很悲惨. |
| 216 | Now I have to think okay how do we see that he's miserable? | 现在,我必须觉得还好 我们如何看待他的痛苦? |
| 217 | Ask a question. | 问曰. |
| 218 | He sees he's miserable because he takes his dinner out of the refrigerator and throws | 他看见自己很痛苦 因为他把晚餐从冰箱里拿出来扔了 |
| 219 | it on the wall. | 在墙上。 |
| 220 | Each thing that you get when you ask a question to me it's always a process of questions and | 你问我问题时得到的每样东西 总是一个问题的过程 |
| 221 | a process of writing down the answer. | 写下答案的过程。 |
| 222 | Now I have a scene where a guy comes in, opens his fridge, throws his dinner against the | 现在我有一个场景 一个男人进来,打开他的冰箱, 扔他的晚餐对面 |
| 223 | wall. | 墙 |
| 224 | Okay we know he's miserable. | 好吧,我们知道他很悲惨。 |
| 225 | Now I can add a couple of lines, move on to the next scene. | 现在,我可以添加几行, 转到下一个场景。 |
| 226 | Everything that you can do to put a little something down, create a bit of something | 你可以做的一切 放下一些东西, 创造一些东西 |
| 227 | for your creativity to hang on to, that's for me the essence of the writing process. | 让你的创造力坚守不移 那是写作过程的精髓 |
| 228 | So if this were a movie then it would show Glenn as a temp and you know all right Charlie | 所以,如果这是一部电影, 那么它会显示格伦 作为一个临时,你知道所有的权利查理 |
| 229 | have a good weekend and then you had like a half hour and then the music plays and you | 周末愉快,然后你有一个半小时 然后音乐播放,你 |
| 230 | I actually think what we would do in that case is we would show that we would cut to | 实际上,我认为,如果那样,我们会 显示我们将削减到 |
| 231 | {\fn黑体\fs22\bord1\shad0\3aHBE\4aH | |
| 232 | the creation by seeing the created magic of this character in the scene. | 通过在场景中看到这个角色所创造的魔法来创造. |
| 233 | Oh so yeah I'm sorry I'm writing now. | 哦,所以是的,我很抱歉我现在写。 |
| 234 | No I love it, I love it. | 不,我喜欢它,我喜欢它。 |
| 235 | So Glenn as the writer. | 所以格伦是作家 |
| 236 | I'm sitting there writing and then we cut to or dissolve to. | 我坐在那里写,然后我们切 或溶解到。 |
| 237 | By the way that's a little thing. | 顺便说一句 这是件小事 |
| 238 | Most of the time, A, don't write cut to. | 大部分时间,A,不要写切。 |
| 239 | 威廉·戈德曼(英语:William Goldman)发起. | |
| 240 | It's a delightful thing in his scripts. | 他的剧本里有件不错的事 |
| 241 | Obviously they're going to cut to. | 显然,他们要切到。 |
| 242 | How else are they going to get there? | 不然他们怎么去? |
| 243 | You're wasting page space. | 你在浪费页面空间 |
| 244 | Don't say cut to. | 不要说切。 |
| 245 | And most of the time don't say dissolve to or fade out or anything else because that's | 大部分时间不要说解散 或淡出 或任何东西,因为 |
| 246 | their decision. | 他们的决定。 |
| 247 | Unless it's really important that you dissolve, just write the next scene and they'll figure | 除非你真的要解散 写下一幕 他们就会想到 |
| 248 | out how to get there. | 离开那里。 |
| 249 | Anyway, yeah get to Glenn's writing and then show that scene where the character is running | 总之,是的,得到格伦的写作 然后显示的场景 该角色运行 |
| 250 | into the phone booth in the rain and it's a great scene and people will get so excited | 在雨中进入电话亭 这是一个伟大的场景 人们会非常兴奋 |
| 251 | by my creativity as a character that they'll want to know what happens next. | 他们想知道接下来会发生什么 |
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