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Downloaded from
YTS.MX

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‪NETFLIX 喜剧特辑

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Official YIFY movies site:
YTS.MX

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‪你好 我跟你不一样 我是罗伯劳
‪我热爱电影

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‪其实我宁愿去看电影
‪也不想来拍这种东西

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‪不过请假装我没说过这句话
‪让我们互相陪伴一下

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‪每年有成千上万部电影问世

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‪故事数不胜数

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‪不过根据剧本创作的理论

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‪基本剧情只有七种 战胜怪物

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‪和另外的六种

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‪也难怪固定类型的角色

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‪熟悉的故事节奏和凑巧的情节设置

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‪会逐渐形成

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‪今晚我们来盘点电影进化到今天
‪使用过的俗套元素

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‪一场疫情过后
‪电影业正在努力寻找自身意义

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‪接下来的一个小时
‪《好莱坞俗套大吐槽》

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‪带你看看浮华城使用这些

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‪便利的电影修辞的习惯

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{\an8}‪（侏罗纪公园）

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{\an8}‪我们会提出一些问题 例如

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{\an8}‪“为什么被吓人的大恐龙追赶的女性

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‪一定要穿着高跟鞋奔跑？”

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{\an8}‪我们盘点我最喜欢的一些套路的时候

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{\an8}‪我们会看到一些电影史上
‪最富戏剧化的时刻

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{\an8}‪最有争议的画面

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{\an8}‪修女在教妈妈们怎么给孩子洗澡

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{\an8}‪看看另外一些俗套设计
‪怎样升华成高级的艺术形式

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{\an8}‪（极盗车神）

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{\an8}‪当然 还有好莱坞如何处理性爱

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{\an8}‪（泰坦尼克号）

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{\an8}‪以及暴力

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{\an8}‪（谍影重重3）

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{\an8}‪不如就从爱情喜剧电影的
‪常见开头说起吧

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‪那就是“可爱的相遇”

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‪也就是电影里爱情开始的魔法时刻

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‪人们看爱情喜剧是为了过瘾

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{\an8}‪他们想体验爱情最初的感觉

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{\an8}‪（艺术家）

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{\an8}‪所以当他们看到这两个人初次相见

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‪在那个时刻 当那种火花

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‪那种化学反应产生后

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{\an8}‪他们会觉得很真实

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{\an8}‪他们的身体会产生那种感受

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{\an8}‪电影里最终相爱的两个人相遇时
‪一定要设计一个

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‪搞笑而刻意的理由

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‪而且一定要有意思

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{\an8}‪不可以是普通人相遇的方式

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{\an8}‪（雨中曲）

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{\an8}‪-小姐 请继续驾驶
‪-下车！

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{\an8}‪某种尴尬而诙谐
‪不太可能发生的状况

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{\an8}‪（诺丁山）

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‪让两个人走到一起

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‪我就住在街对面 我家有水 有肥皂

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‪可以帮你清洗一下

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‪如果在现实中发生

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{\an8}‪你可能会把剩下的橙汁扔在对方脸上

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{\an8}‪然后说“不要 离我远一点”

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‪我很自信只要五分钟
‪你就能干干净净地

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‪重返街头

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‪我不是说你是妓女

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‪每当电影里的两个人相爱时

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{\an8}‪无论是什么类型 都会有
‪电影特有的俗套的浪漫情节

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{\an8}‪（夺宝奇兵2之魔宫传奇）

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‪我讨厌水 我讨厌被打湿 我讨厌你

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‪太好了

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{\an8}‪他们要么互相讨厌
‪要么已经跟别人订婚或结婚

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{\an8}‪杰克 我订婚了

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{\an8}‪（泰坦尼克号）

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‪我要跟卡尔结婚了

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‪必须要经历一番挣扎
‪这样才不会无趣

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‪当然了 因为是电影

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{\an8}‪男性的战略可以是死缠烂打
‪甚至直接骚扰

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{\an8}‪（毕业生）

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{\an8}‪这样算不算巧合？

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‪很多从男性角度拍摄的电影

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‪有些情节的本质就是跟踪狂

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{\an8}‪跟我跳舞好吗？

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{\an8}‪不要

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{\an8}‪为什么？

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‪因为我不想

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‪-能跟我交往吗？
‪-什么？

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‪-不要！
‪-不要吗？

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‪-不要！
‪-真的吗？

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‪-伙计 她已经说得很清楚
‪-为什么不行？

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{\an8}‪比如《暮光之城》 他从窗户爬进去

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‪然后说“我喜欢看你睡觉”

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{\an8}‪你经常这样做吗？

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{\an8}‪（暮光之城）

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{\an8}‪这几个月才是这样

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{\an8}‪只有男性跟踪女性时 才会演得性感

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‪如果是女性缠着或者跟踪男性角色

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{\an8}‪女人就会变成恶人

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{\an8}‪我只想走进你的生活

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{\an8}‪你就采取这种做法？
‪突然出现在我的公寓？

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‪不然我能怎么办？

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‪你不接我的电话 你换了号码

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‪我不想被你无视 丹

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‪（特立独行的警察）

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‪每个故事都需要一个
‪能攫取注意力的主角

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‪要独一无二 独树一帜 独此一家

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‪每一部电影的主角都要做到

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‪因为主人公方方面面都要出类拔萃

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‪让他们随便做一份工作是不行的

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‪不管是什么工作 都要做成领头羊

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‪尤其当他的工作
‪是最厉害的那种：警察

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{\an8}‪-你以为我疯了？
‪-对

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{\an8}‪在好莱坞 如果你想破案
‪把坏人绳之以法

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‪执法机构里最顶级的角色
‪是特立独行的警察

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‪这是真的警徽 我是真警察
‪这是一把枪

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{\an8}‪特立独行的警察性格刚烈
‪不听警监的话

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{\an8}‪如果想当牛仔式的警察
‪到别的警区去当

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‪他们的生活一塌糊涂

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{\an8}‪可能是酒鬼 不称职的父亲

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{\an8}‪你是我的女儿 住的是我的家
‪你要尊重我 知道吗？

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‪-不许说我是混账货
‪-为什么不能？

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‪妈妈经常这样叫你

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‪他们只关心工作

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{\an8}‪别胡扯了 你想害死你自己吗？

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‪知道我为什么不做吗？因为工作

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{\an8}‪摧毁一切阻碍他们的事物

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{\an8}‪（肮脏的哈里）

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‪特立独行的警察一个接一个

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‪但最有代表性的脾气火爆的执法者是

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‪克林特伊斯特伍德塑造的警探哈里

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{\an8}‪你可以问自己一个问题
‪“我运气好不好？”

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{\an8}‪（警探哈里）

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‪你运气好吗 混蛋？

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‪警探哈里是这种俗套角色
‪最狠的一个例子

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{\an8}‪那部电影努力让我们以第一视角

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{\an8}‪体验这个颓废警察的内心
‪他只想放纵自己

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‪一个接一个地杀人

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‪他只遵守自己的规则

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{\an8}‪为了惩罚罪犯 他不择手段

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{\an8}‪法律体系被塑造得极其愚蠢

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{\an8}‪或者管事的是心太软的自由派

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{\an8}‪我想说的是 那个人也有权利

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‪他的权利让我心痛

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{\an8}‪特立独行法则规定 这些警察

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{\an8}‪只关心两件事
‪这两样东西都闪闪发亮

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‪交出警徽和枪 警官

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‪电影里会有个关键情节
‪特立独行的警察

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‪交出手枪和警徽

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‪“你不该再留在这个职位”

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{\an8}‪而我们观众都知道
‪只有他有资格拥有它

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{\an8}‪这是你逼的 把警徽给我

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{\an8}‪（我 机器人）

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‪休息两天

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‪（警察电影之死）

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‪近些年 好莱坞不再拍摄
‪“特立独行的警察”类电影

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{\an8}‪这反映了大家不再迷信

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{\an8}‪喜欢自己执法的警察

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{\an8}‪电影让我们以为 他们行事正派

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{\an8}‪道德高尚

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‪而现实中很多警察

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‪似乎并非如此

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{\an8}‪电影导演和电视制作人
‪应该反思这一点

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‪他们也的确在反思

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{\an8}‪不过特立独行的警察
‪还没有“提前退休”

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{\an8}‪电视剧还有余地 可以把俗套的设计

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‪融入三维立体的角色中

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‪凯特温斯莱特的《东城梦魇》

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‪内心世界很复杂 不过别担心

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‪她仍然是个严重酗酒的警察

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‪她知法犯法 被停职

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‪交出手枪和警徽

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‪但还是能杀人

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‪好莱坞喜欢赢家

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‪但不是故事里的每个角色都能当英雄

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‪例外的是漫威宇宙
‪他们96%的电影都是英雄

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‪有些角色一登上银幕

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‪就注定了要失败

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‪还不如直接躺在棺材里登场
‪一了百了

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{\an8}‪（死期将至）

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{\an8}‪你是电影里的次要角色

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{\an8}‪谢谢你 约翰

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{\an8}‪你的工作很危险

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‪你打算不做了

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‪明天早上请你…

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‪-我明天要辞职 弗兰克
‪-什么？

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‪大错特错

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‪艾尔

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‪《死期将至》

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{\an8}‪美国电影喜欢让观众知道

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{\an8}‪（詹姆斯夏慕斯 编剧）

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{\an8}‪这是将死之人最后一次执行任务
‪来宣告这个人的死期

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{\an8}‪他们要退休了 对吧？

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{\an8}‪我再过三天就不做了 我要把它做好

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‪甚至还为你在当天晚些时候
‪准备了退休派对

190
00:08:26,083 --> 00:08:27,416
‪讲几句话吧

191
00:08:27,500 --> 00:08:30,583
‪你只要再执勤一次

192
00:08:32,708 --> 00:08:34,625
‪还有其他经典的做法

193
00:08:34,708 --> 00:08:37,333
‪来保证死期将至这一点

194
00:08:37,416 --> 00:08:40,750
‪有个手法很经典
‪角色会聊起自己的家人

195
00:08:40,833 --> 00:08:42,500
{\an8}‪聊起自己的抱负

196
00:08:42,583 --> 00:08:45,625
{\an8}‪我要娶个丰满的美国女人
‪然后去养兔子

197
00:08:45,708 --> 00:08:47,083
{\an8}‪（猎杀红色十月）

198
00:08:47,166 --> 00:08:50,125
‪如果他们开始思考
‪下一步要做的事 就死了

199
00:08:50,208 --> 00:08:53,958
{\an8}‪另外如果是战争电影
‪角色可能是个大兵

200
00:08:54,041 --> 00:08:56,250
{\an8}‪他会拿出女朋友的照片

201
00:08:57,458 --> 00:09:01,500
‪这张照片可能在他口袋里装了很久
‪大错特错

202
00:09:01,583 --> 00:09:04,208
‪求求你…

203
00:09:05,583 --> 00:09:06,583
{\an8}‪（远处凝望的葬礼）

204
00:09:06,666 --> 00:09:08,250
{\an8}‪当银幕上的你死了

205
00:09:08,333 --> 00:09:11,041
{\an8}‪参加葬礼的有你的亲人

206
00:09:11,125 --> 00:09:13,333
{\an8}‪和一个孤寂的角色 不知道为什么

207
00:09:13,416 --> 00:09:15,791
{\an8}‪他会站在远处凝望这边

208
00:09:15,875 --> 00:09:19,875
{\an8}‪这样也方便导演拍出漂亮的葬礼远景

209
00:09:20,541 --> 00:09:23,500
{\an8}‪不过《速度与激情》更上一层楼

210
00:09:23,583 --> 00:09:26,583
{\an8}‪保罗沃克远远地观看葬礼时

211
00:09:26,666 --> 00:09:31,416
‪范迪塞尔则在远远地观看
‪保罗沃克远远地

212
00:09:31,500 --> 00:09:32,583
‪观看葬礼

213
00:09:33,958 --> 00:09:35,625
‪当然了 葬礼一结束

214
00:09:35,708 --> 00:09:36,791
{\an8}‪（对着墓碑说话）

215
00:09:36,875 --> 00:09:39,500
{\an8}‪坟墓前这个场景最适合展示角色

216
00:09:39,583 --> 00:09:40,875
{\an8}‪脆弱动情的状态

217
00:09:40,958 --> 00:09:41,833
{\an8}‪（致命武器）

218
00:09:41,916 --> 00:09:42,916
{\an8}‪我爱你

219
00:09:43,750 --> 00:09:45,875
{\an8}‪布巴 你好 我是福雷斯特甘

220
00:09:45,958 --> 00:09:49,458
{\an8}‪也很方便用来交代情节发展到了哪里

221
00:09:49,541 --> 00:09:53,166
‪你说的话我都记着呢 我都计划好了

222
00:09:53,250 --> 00:09:55,291
{\an8}‪埃德哈里斯则一石二鸟

223
00:09:55,375 --> 00:09:57,833
{\an8}‪以防你不知道他倾诉的对象是谁

224
00:09:57,916 --> 00:10:00,166
{\an8}‪我要做一件事 芭布

225
00:10:00,250 --> 00:10:02,833
‪导演组替你刻在了墓碑上

226
00:10:02,916 --> 00:10:04,083
‪“他的妻子”

227
00:10:05,375 --> 00:10:08,958
{\an8}‪不过墓地里不仅仅可以说话

228
00:10:09,041 --> 00:10:12,750
{\an8}‪看来公墓今早来了个格外沉醉的人

229
00:10:15,416 --> 00:10:17,458
‪电影最让我沉迷的原因之一是

230
00:10:17,541 --> 00:10:20,791
‪它能带你离开日常生活

231
00:10:20,875 --> 00:10:25,375
‪进入一个完全虚构幻想的世界
‪比如纳尼亚 或者法国

232
00:10:25,458 --> 00:10:26,708
{\an8}‪（巴黎唯一的地标风景）

233
00:10:26,791 --> 00:10:28,833
{\an8}‪法语里一定有“套路”这个词

234
00:10:28,916 --> 00:10:32,833
{\an8}‪可是在电影里
‪最俗套的城市之一就是巴黎

235
00:10:32,916 --> 00:10:35,666
{\an8}‪可是怎么判断我们来到了巴黎？

236
00:10:35,750 --> 00:10:37,375
‪因为导演会确保我们

237
00:10:37,458 --> 00:10:40,750
‪能透过卧室的窗户看见埃菲尔铁塔

238
00:10:41,375 --> 00:10:42,541
{\an8}‪（碟中谍5：神秘国度）

239
00:10:42,625 --> 00:10:43,875
{\an8}‪阁楼的窗户

240
00:10:44,666 --> 00:10:46,166
{\an8}‪火车的车窗

241
00:10:46,250 --> 00:10:48,125
{\an8}‪从阳台上

242
00:10:48,208 --> 00:10:49,958
{\an8}‪透过一座钟？

243
00:10:50,041 --> 00:10:54,500
{\an8}‪不幸的是这也意味着
‪埃菲尔铁塔是每个入侵者第一个

244
00:10:54,583 --> 00:10:56,166
‪要摧毁的目标

245
00:10:57,083 --> 00:10:58,916
‪演员们喜欢使用道具

246
00:10:59,000 --> 00:11:00,541
‪因为它们是优秀的对手演员

247
00:11:00,625 --> 00:11:02,166
‪从来不抢戏

248
00:11:02,250 --> 00:11:03,750
‪薪水通常也比较低

249
00:11:03,833 --> 00:11:05,333
‪一件日常感的道具

250
00:11:05,416 --> 00:11:08,541
‪能让神一样的角色瞬间变成普通人

251
00:11:08,625 --> 00:11:11,875
‪没说错吧？这个购物袋加法棍的组合

252
00:11:11,958 --> 00:11:14,708
‪让我的亲民度增加了26%

253
00:11:14,791 --> 00:11:17,416
‪我已经十年没买过和吃过面包 其实

254
00:11:17,500 --> 00:11:19,166
‪这个袋子只是一个保护层

255
00:11:19,250 --> 00:11:22,250
‪防止我的皮肤无意中摄入碳水

256
00:11:22,333 --> 00:11:24,083
‪电影明星都有这种需求

257
00:11:24,625 --> 00:11:27,750
{\an8}‪主角通常要有普通人的气质

258
00:11:27,833 --> 00:11:29,375
{\an8}‪会自己购物

259
00:11:29,458 --> 00:11:33,541
{\an8}‪从购物袋里伸出来的一条醒目的法棍
‪简直太符合角色要求了

260
00:11:34,125 --> 00:11:36,458
{\an8}‪也很适合用来遮住人脸

261
00:11:37,083 --> 00:11:39,083
{\an8}‪下面这段戏的激烈程度

262
00:11:39,166 --> 00:11:41,541
{\an8}‪从法棍的数量就可见一斑

263
00:11:41,625 --> 00:11:44,375
‪还热乎的 是我吃过的最美味的面包

264
00:11:45,041 --> 00:11:46,250
‪太专业了

265
00:11:47,250 --> 00:11:51,833
‪演员们还爱用另一件
‪很能传达思想的道具 苹果

266
00:11:51,916 --> 00:11:54,833
‪哪怕它的含糖量高达可怕的19克

267
00:11:57,375 --> 00:12:00,625
‪拍好了就告诉我 我要把这玩意吐掉

268
00:12:04,208 --> 00:12:05,291
‪（傲慢的苹果）

269
00:12:05,375 --> 00:12:08,541
‪演戏的时候吃东西能表现一种自大

270
00:12:08,625 --> 00:12:12,958
{\an8}‪以一种终极的手法表示
‪“我就在这里 天不怕地不怕”

271
00:12:13,041 --> 00:12:14,666
{\an8}‪守卫企业号星舰时

272
00:12:14,750 --> 00:12:15,583
{\an8}‪（星际迷航）

273
00:12:15,750 --> 00:12:16,666
{\an8}‪（斯巴达300勇士）

274
00:12:16,750 --> 00:12:18,708
{\an8}‪上阵杀敌时

275
00:12:19,625 --> 00:12:22,791
{\an8}‪或者见上级军官时
‪作为两顿饭之间的零食

276
00:12:22,875 --> 00:12:24,375
{\an8}‪我是海军少校加洛威

277
00:12:24,458 --> 00:12:26,708
‪啃苹果是一种俗套的手法 表达的是

278
00:12:26,791 --> 00:12:28,750
‪“我就是这么桀骜不驯”

279
00:12:28,833 --> 00:12:31,208
‪同时还能降低胆固醇 有益肠道健康

280
00:12:32,625 --> 00:12:34,166
‪选演员的方式

281
00:12:34,250 --> 00:12:36,500
‪取决于你想讲述什么故事

282
00:12:36,583 --> 00:12:39,208
‪有的故事需要导演深思熟虑

283
00:12:39,291 --> 00:12:41,958
‪选一组性格各不相同的演员

284
00:12:42,041 --> 00:12:45,125
‪而有些电影只需要一个能杀人的壮汉

285
00:12:45,958 --> 00:12:46,875
{\an8}‪（以一敌百）

286
00:12:46,958 --> 00:12:49,458
{\an8}‪电影想让我们相信

287
00:12:49,541 --> 00:12:50,666
‪个人能战胜体制

288
00:12:50,750 --> 00:12:55,208
{\an8}‪电影会通过“以一敌百”
‪向我们证明这是有可能的

289
00:12:55,291 --> 00:12:59,083
{\an8}‪从以前的罗宾汉电影里就能看到

290
00:12:59,166 --> 00:13:01,166
{\an8}‪埃罗尔弗林演的那些电影

291
00:13:01,958 --> 00:13:05,708
{\an8}‪在西部片里能看到很多

292
00:13:06,500 --> 00:13:08,958
{\an8}‪通过詹姆斯邦德大概也可以

293
00:13:09,041 --> 00:13:10,875
{\an8}‪（雷霆谷）

294
00:13:11,666 --> 00:13:13,000
{\an8}‪这在1980年代有了改变

295
00:13:13,083 --> 00:13:17,875
{\an8}‪当时开始流行健美肌肉男
‪最有名的有阿诺德施瓦辛格

296
00:13:17,958 --> 00:13:18,833
{\an8}‪史泰龙

297
00:13:18,916 --> 00:13:23,166
{\an8}‪他们横空出世
‪长得完全不像我们认识的男人

298
00:13:23,250 --> 00:13:24,291
{\an8}‪看上去好像超人类

299
00:13:24,375 --> 00:13:25,291
{\an8}‪（独闯龙潭）

300
00:13:26,208 --> 00:13:29,875
{\an8}‪当史泰龙拿起一件
‪有大规模杀伤力量的武器

301
00:13:29,958 --> 00:13:31,708
{\an8}‪（第一滴血2）

302
00:13:31,791 --> 00:13:34,416
‪20个人瞬间被打成蜂窝

303
00:13:34,500 --> 00:13:39,083
{\an8}‪这是一种极其满足的体验
‪赶尽杀绝 彻底毁灭

304
00:13:39,166 --> 00:13:43,000
{\an8}‪完全不用顾及人的死活

305
00:13:43,083 --> 00:13:45,000
‪这是我们希望在这类电影里看到的

306
00:13:45,083 --> 00:13:48,416
{\an8}‪我认为1980年代
‪动作电影里的硬汉英雄

307
00:13:48,500 --> 00:13:49,875
{\an8}‪（金纽曼 影评人及作家）

308
00:13:49,958 --> 00:13:52,208
{\an8}‪无人能敌和不屈不挠的特质

309
00:13:52,291 --> 00:13:56,791
{\an8}‪成了它们能不断续拍的关键

310
00:13:56,875 --> 00:13:58,583
{\an8}‪然后出现了《虎胆龙威》

311
00:13:58,666 --> 00:14:02,541
{\an8}‪这部电影一开始看上去还相对真实

312
00:14:02,625 --> 00:14:05,166
‪布鲁斯威利看起来就是个普通男子

313
00:14:05,250 --> 00:14:08,000
‪放下 蠢货 我是警察

314
00:14:08,083 --> 00:14:09,333
‪坚持住 约翰

315
00:14:09,416 --> 00:14:11,791
‪可是拍到第五部的时候

316
00:14:11,875 --> 00:14:14,875
{\an8}‪第五部的他已经可以干掉外星人

317
00:14:14,958 --> 00:14:16,291
{\an8}‪（虎胆龙威：择日开战）

318
00:14:16,958 --> 00:14:20,125
{\an8}‪主角的身体技能非常出众

319
00:14:20,208 --> 00:14:22,458
{\an8}‪比普通人优秀很多

320
00:14:22,541 --> 00:14:24,041
{\an8}‪（古墓丽影）

321
00:14:24,125 --> 00:14:27,041
{\an8}‪他们往往是那种非常强壮
‪沉默寡言的人

322
00:14:27,125 --> 00:14:30,166
‪以一敌百者只会在一个时间说话

323
00:14:30,250 --> 00:14:33,666
{\an8}‪他刚杀了人或者杀人之前

324
00:14:33,750 --> 00:14:34,916
{\an8}‪我们是夫妻

325
00:14:35,625 --> 00:14:38,791
‪这种形式的大师是阿诺德施瓦辛格

326
00:14:38,875 --> 00:14:40,000
‪就当我们离婚了

327
00:14:40,625 --> 00:14:43,666
‪诚然 你的主角可以到处开枪

328
00:14:43,750 --> 00:14:47,500
‪非常“英雄地”
‪对着学生校车发射火箭炮

329
00:14:47,583 --> 00:14:49,291
‪但如果他们想赢得我们的尊重

330
00:14:49,375 --> 00:14:52,833
‪在某个时刻 他们会扔掉枪炮

331
00:14:52,916 --> 00:14:54,541
‪举起拳头

332
00:14:55,875 --> 00:14:56,958
‪双手都举

333
00:14:57,583 --> 00:14:59,333
‪（肉搏战）

334
00:14:59,416 --> 00:15:01,500
‪在默片时期

335
00:15:01,583 --> 00:15:04,916
‪银幕上的角色必须通过肢体表达自己

336
00:15:05,000 --> 00:15:07,666
{\an8}‪因为观众看字卡会看腻

337
00:15:07,750 --> 00:15:09,833
{\an8}‪华而不实的文字只会引起嘲笑

338
00:15:09,916 --> 00:15:12,833
{\an8}‪所以他们会拍摄非常长的打斗戏

339
00:15:12,916 --> 00:15:14,291
{\an8}‪（火车大劫案）

340
00:15:14,375 --> 00:15:17,208
{\an8}‪第一幕正式出现在电影里的肉搏战

341
00:15:17,291 --> 00:15:20,875
{\an8}‪是电影《火车大劫案》里
‪在火车上方和内部

342
00:15:20,958 --> 00:15:22,875
‪进行的一场激战

343
00:15:22,958 --> 00:15:25,208
{\an8}‪快进一百多年后

344
00:15:25,291 --> 00:15:27,375
{\an8}‪仍然有人在行驶的火车上方互殴

345
00:15:27,458 --> 00:15:30,708
{\an8}‪只是穿的西装稍微贵了一些

346
00:15:31,916 --> 00:15:34,458
‪过去十年我最喜欢看到的变化是

347
00:15:34,541 --> 00:15:39,291
{\an8}‪打斗戏看上去更逼真 更血腥了

348
00:15:39,375 --> 00:15:40,833
{\an8}‪（飓风营救）

349
00:15:40,916 --> 00:15:43,125
{\an8}‪还有一个很神奇的俗套设计

350
00:15:43,208 --> 00:15:44,416
{\an8}‪（安娜博加斯卡雅 播音员）

351
00:15:44,500 --> 00:15:46,916
{\an8}‪它方便了我们观众的观赏

352
00:15:47,000 --> 00:15:50,666
‪那就是进攻的人群会一个一个上

353
00:15:50,750 --> 00:15:52,333
{\an8}‪（老男孩）

354
00:15:52,416 --> 00:15:53,291
{\an8}‪在《老男孩》里

355
00:15:53,375 --> 00:15:56,666
{\an8}‪走廊里那个精彩的场景

356
00:15:56,750 --> 00:16:00,791
‪你会把注意力放在
‪一次干掉一个人上面

357
00:16:04,000 --> 00:16:06,916
‪我觉得这跟电子游戏很有关系

358
00:16:07,000 --> 00:16:10,083
‪虽然你有无穷的本事

359
00:16:10,166 --> 00:16:14,375
{\an8}‪你挥出一拳又一拳
‪但是好像永远打不完

360
00:16:15,333 --> 00:16:18,500
{\an8}‪这种“取号排队等着挨打”
‪打斗戏的大师

361
00:16:18,583 --> 00:16:20,458
{\an8}‪是传奇演员成龙

362
00:16:21,208 --> 00:16:23,000
{\an8}‪成龙是我的最爱

363
00:16:24,041 --> 00:16:26,916
{\an8}‪他之所以这么受欢迎
‪是因为他打破了套路

364
00:16:27,000 --> 00:16:30,458
{\an8}‪成了电影里从头到尾都在挨打的英雄

365
00:16:31,291 --> 00:16:33,250
{\an8}‪他的表演简直离谱

366
00:16:33,333 --> 00:16:36,208
{\an8}‪而且他不用钢丝 简直不怕死

367
00:16:36,291 --> 00:16:38,250
{\an8}‪我觉得他的影响力

368
00:16:38,333 --> 00:16:41,208
‪是最大的 而且都被镜头捕捉到了

369
00:16:41,291 --> 00:16:42,416
{\an8}‪（黑客帝国2：重装上阵）

370
00:16:42,500 --> 00:16:46,083
{\an8}‪成龙的影响在后来的电影里
‪都可以看到

371
00:16:46,166 --> 00:16:47,875
{\an8}‪如今的肉搏战

372
00:16:47,958 --> 00:16:49,166
{\an8}‪（大卫艾德斯坦 电影评论家）

373
00:16:49,250 --> 00:16:51,333
{\an8}‪已经违反了生理学

374
00:16:51,416 --> 00:16:52,583
{\an8}‪违反人体极限

375
00:16:52,666 --> 00:16:57,583
{\an8}‪如果你打一个人50下
‪他还能重新站起来

376
00:16:57,666 --> 00:16:59,375
‪那么到底有多危险？

377
00:17:00,458 --> 00:17:02,000
‪到底什么才能杀死他？

378
00:17:03,333 --> 00:17:05,916
{\an8}‪大银幕上的拳脚对决

379
00:17:06,000 --> 00:17:09,041
{\an8}‪正在从优美向狂暴进化

380
00:17:09,708 --> 00:17:11,583
‪他们赤手空拳

381
00:17:11,666 --> 00:17:14,916
‪两人飞快地拍打对方的手

382
00:17:15,000 --> 00:17:17,625
‪如果想看清怎么回事
‪就必须放慢速度

383
00:17:18,250 --> 00:17:22,625
{\an8}‪后来兴起了《突袭》这种电影

384
00:17:23,291 --> 00:17:25,791
‪搏斗几乎没有休止

385
00:17:26,416 --> 00:17:28,750
‪你可以拍一个完全只有打架的故事

386
00:17:31,291 --> 00:17:32,333
‪（性感的性张力）

387
00:17:32,416 --> 00:17:35,416
‪说完一种激烈的身体活动
‪再来说另一种

388
00:17:35,500 --> 00:17:36,708
‪等等 泰山！

389
00:17:36,791 --> 00:17:38,416
{\an8}‪（泰山得美）

390
00:17:38,500 --> 00:17:40,375
{\an8}‪性感剧情和不雅的裸露场景

391
00:17:40,458 --> 00:17:42,666
{\an8}‪在好莱坞电影里不可或缺

392
00:17:42,750 --> 00:17:44,291
‪基本从未缺席过

393
00:17:44,375 --> 00:17:47,000
‪在电影业早期 电影公司挑战过

394
00:17:47,083 --> 00:17:48,625
{\an8}‪品味和格调的下线

395
00:17:48,708 --> 00:17:50,958
{\an8}‪各方纷纷施压 要求电影干净一些

396
00:17:51,041 --> 00:17:54,250
{\an8}‪不要把女性塑造得过于随便和淫乱

397
00:17:54,333 --> 00:17:58,125
‪脱掉衣服 下水来跟我详细说

398
00:17:58,208 --> 00:18:00,666
‪20世纪30年代初

399
00:18:00,750 --> 00:18:02,833
{\an8}‪《娃娃脸》里的芭芭拉斯坦威克

400
00:18:02,916 --> 00:18:07,166
{\an8}‪通过睡男人
‪在纽约一家大银行平步青云

401
00:18:07,250 --> 00:18:10,416
{\an8}‪-你有过经验吗？
‪-多得很

402
00:18:10,500 --> 00:18:12,208
‪梅韦斯特塑造的一些角色

403
00:18:12,291 --> 00:18:16,416
‪生活奢靡 抽烟喝酒 无所不做

404
00:18:16,500 --> 00:18:20,958
{\an8}‪扮好人时我很厉害
‪扮坏人时我更厉害

405
00:18:22,375 --> 00:18:24,833
‪经过20世纪初的一系列丑闻

406
00:18:24,916 --> 00:18:27,708
‪媒体宣布好莱坞的道德已经破产

407
00:18:27,791 --> 00:18:30,041
‪一位神父写的新行为准则

408
00:18:30,125 --> 00:18:33,041
‪受到共和党保守派威尔海斯的拥护

409
00:18:33,125 --> 00:18:35,666
‪声誉良好的制片人与威尔海斯签约

410
00:18:35,750 --> 00:18:37,666
‪整顿电影行业

411
00:18:37,750 --> 00:18:43,291
{\an8}‪这样就禁绝了性道德堕落画面
‪出现在大银幕上

412
00:18:43,375 --> 00:18:47,666
‪禁止庸俗、低贱和不道德的东西

413
00:18:48,291 --> 00:18:51,625
{\an8}‪到了30年代 《海斯准则》
‪非常严格地规定了

414
00:18:51,708 --> 00:18:55,583
{\an8}‪电影可以和不可以拍什么
‪主要是不可以拍什么

415
00:18:55,666 --> 00:18:59,291
‪演员必须有一条腿踩在地面

416
00:19:00,416 --> 00:19:03,583
{\an8}‪一条腿踩着地面要怎么做爱
‪我不知道

417
00:19:03,666 --> 00:19:06,375
{\an8}‪不过电影人很快找到了办法绕过规定

418
00:19:06,458 --> 00:19:10,583
{\an8}‪象征性爱的俗套电影符号流行起来

419
00:19:10,666 --> 00:19:15,708
{\an8}‪不能拍性爱
‪要怎么暗示发生了性行为？

420
00:19:16,208 --> 00:19:17,625
{\an8}‪（漩涡之外）

421
00:19:17,708 --> 00:19:18,833
{\an8}‪外面是不是下雨了？

422
00:19:18,916 --> 00:19:22,500
{\an8}‪屋外有狂风暴雨
‪你的内心也一定心潮澎湃

423
00:19:22,583 --> 00:19:25,750
‪可能别的部位也有

424
00:19:25,833 --> 00:19:27,166
{\an8}‪（西北偏北）

425
00:19:27,250 --> 00:19:30,583
{\an8}‪前一幕男女在火车的卧铺车厢里

426
00:19:30,666 --> 00:19:32,250
‪下一幕就是火车进入隧道

427
00:19:32,333 --> 00:19:35,333
{\an8}‪这种手法刚问世的时候
‪人们看得津津有味

428
00:19:35,416 --> 00:19:37,500
{\an8}‪因为知道的人自然知道 不知道的人

429
00:19:37,583 --> 00:19:39,041
‪也不会感觉受到冒犯和不悦

430
00:19:41,333 --> 00:19:42,708
‪到20世纪60年代

431
00:19:42,791 --> 00:19:46,708
‪大电影公司无法再控制
‪全部的电影院线

432
00:19:46,791 --> 00:19:49,375
‪独立影院如雨后春笋

433
00:19:49,458 --> 00:19:52,791
‪他们从欧洲引进了刺激的新电影

434
00:19:52,875 --> 00:19:57,958
{\an8}‪片中往往有令人兴奋的禁忌元素
‪例如胸部

435
00:19:58,500 --> 00:20:01,291
‪我永远不会忘记你 亲爱的克丝汀

436
00:20:01,375 --> 00:20:05,416
{\an8}‪随着美国观众能看到更多欧洲电影

437
00:20:05,500 --> 00:20:08,958
{\an8}‪好莱坞意识到“要想跟他们竞争
‪我们必须废除《海斯准则》”

438
00:20:09,958 --> 00:20:13,083
{\an8}‪解决办法是根据年龄制定的分级制度

439
00:20:13,166 --> 00:20:15,250
‪于是性爱场面重返银幕

440
00:20:15,333 --> 00:20:19,333
‪觉得火车进隧道的镜头很刺激的观众
‪一定觉得很失望

441
00:20:19,416 --> 00:20:21,625
‪电影里的性爱戏向来不够逼真

442
00:20:21,708 --> 00:20:25,625
‪但它也有不少俗套的设计

443
00:20:25,708 --> 00:20:28,041
{\an8}‪少不了营造气氛的音乐

444
00:20:28,125 --> 00:20:32,041
‪从每个角度看
‪两人的身体都美不胜收

445
00:20:32,125 --> 00:20:36,041
‪女性很少脱掉胸罩
‪两人会同时达到高潮

446
00:20:36,125 --> 00:20:38,083
‪激情四射

447
00:20:39,458 --> 00:20:42,458
{\an8}‪如今 想在银幕上看性爱戏
‪只需点一下右键

448
00:20:42,541 --> 00:20:45,250
{\an8}‪但有一个镜头好莱坞还是不会拍

449
00:20:45,333 --> 00:20:46,458
‪无论出多少钱

450
00:20:47,125 --> 00:20:50,958
‪氛围很激烈 音乐有所铺垫
‪激情积累到位

451
00:20:51,041 --> 00:20:53,666
‪我们都知道会发生什么
‪无需去看下一幕

452
00:20:53,750 --> 00:20:55,625
{\an8}‪（暮色4：破晓 下）

453
00:20:55,708 --> 00:20:59,208
{\an8}‪所以电影又变得只能全靠暗示

454
00:20:59,291 --> 00:21:03,375
{\an8}‪用手抓床单
‪蒸汽朦胧的窗户上的一只手

455
00:21:03,458 --> 00:21:06,250
{\an8}‪或者通过宇宙飞船喷火来暗示

456
00:21:06,333 --> 00:21:07,666
{\an8}‪美好的结局

457
00:21:07,750 --> 00:21:08,625
{\an8}‪（守望者）

458
00:21:08,708 --> 00:21:10,416
‪绝对可以保证

459
00:21:12,750 --> 00:21:13,791
‪这是谁写的？

460
00:21:13,875 --> 00:21:16,041
{\an8}‪（喷水手法）

461
00:21:16,125 --> 00:21:19,375
{\an8}‪想让角色表现惊讶？给他一杯饮料

462
00:21:19,458 --> 00:21:20,458
{\an8}‪（黑色手铐）

463
00:21:20,541 --> 00:21:21,666
{\an8}‪“硬了”是什么意思 爸爸？

464
00:21:23,291 --> 00:21:27,583
‪喜剧片里几乎都可以找到

465
00:21:27,666 --> 00:21:29,208
‪某种形式的喷水戏

466
00:21:29,291 --> 00:21:32,000
{\an8}‪以前他们叫我“犯贱精”

467
00:21:32,083 --> 00:21:34,791
{\an8}‪喷水画面在现实中不一定会发生

468
00:21:34,875 --> 00:21:38,458
‪但你还是愿意相信 因为画面很有趣

469
00:21:39,291 --> 00:21:43,000
{\an8}‪喷水戏是在告诉观众
‪他们看到了惊人的一幕

470
00:21:45,208 --> 00:21:46,625
‪我的天 你还抽烟？

471
00:21:46,708 --> 00:21:50,625
{\an8}‪这一喷保证能给任何喜剧场景
‪增加滑稽味道

472
00:21:50,708 --> 00:21:52,416
{\an8}‪-这是什么？
‪-欢迎

473
00:21:55,208 --> 00:21:57,208
‪-女士
‪-獾什么？

474
00:21:58,291 --> 00:21:59,500
‪欢迎

475
00:22:01,041 --> 00:22:03,125
‪抱歉 吓到你了吗？

476
00:22:03,208 --> 00:22:06,750
‪我不是故意的
‪我只在介绍下一个俗套元素

477
00:22:06,833 --> 00:22:08,125
‪突然惊吓 也就是…

478
00:22:11,250 --> 00:22:12,458
‪（突然惊吓）

479
00:22:12,541 --> 00:22:15,375
‪瓦尔卢顿是一位电影人
‪在雷电华影业

480
00:22:15,458 --> 00:22:16,500
‪负责低成本拍摄

481
00:22:16,583 --> 00:22:19,833
‪他帮助培养了整整一代电影导演

482
00:22:19,916 --> 00:22:22,958
‪他们很会利用氛围来影响你

483
00:22:23,583 --> 00:22:26,916
{\an8}‪在《豹妹》这部电影里
‪女主角被跟踪了

484
00:22:27,000 --> 00:22:28,708
{\an8}‪营造出一种恐怖感

485
00:22:31,833 --> 00:22:34,041
‪然后最后传来了一声嘶嘶声

486
00:22:37,333 --> 00:22:39,625
‪原来是大巴刹车的声音

487
00:22:39,708 --> 00:22:42,416
‪车子停下 这一幕就这样结束了

488
00:22:42,500 --> 00:22:46,958
‪这是第一次有人在电影里
‪运用虚惊一场的手法

489
00:22:47,041 --> 00:22:50,500
‪这种技法后来被称为“卢顿巴士”

490
00:22:50,583 --> 00:22:52,958
‪现在“突然惊吓”的形式有很多

491
00:22:53,041 --> 00:22:55,583
{\an8}‪关闭的窗户被东西打破

492
00:22:55,666 --> 00:22:56,625
{\an8}‪（月光光心慌慌）

493
00:22:56,708 --> 00:22:58,750
{\an8}‪你拥抱的时候

494
00:22:58,833 --> 00:23:00,625
{\an8}‪有人撞到篱笆上

495
00:23:01,750 --> 00:23:03,083
{\an8}‪或者一件很长的外套

496
00:23:03,166 --> 00:23:04,625
{\an8}‪（我知道你去年夏天干了什么）

497
00:23:04,708 --> 00:23:06,541
{\an8}‪别担心 这不是真皮的

498
00:23:07,500 --> 00:23:09,416
{\an8}‪第一次运用“虚惊”手法的大巴

499
00:23:09,500 --> 00:23:12,083
{\an8}‪来自一部叫《豹妹》的电影

500
00:23:12,166 --> 00:23:15,708
‪讽刺的是 如今的电影人
‪用得最多的俗套道具

501
00:23:17,000 --> 00:23:18,333
‪竟然是家猫

502
00:23:18,416 --> 00:23:20,333
{\an8}‪（侠盗王子罗宾汉）

503
00:23:20,416 --> 00:23:23,833
{\an8}‪猫很邪恶 用猫来吓人的俗套设计

504
00:23:23,916 --> 00:23:26,708
{\an8}‪是完全以事实为依据的

505
00:23:26,791 --> 00:23:30,125
{\an8}‪猫总在家中四处出没 躲在橱柜里

506
00:23:31,291 --> 00:23:33,083
{\an8}‪它们就是要吓人的

507
00:23:33,166 --> 00:23:35,958
{\an8}‪而且它们吓人的场所
‪已经不仅限于地球

508
00:23:36,041 --> 00:23:37,166
{\an8}‪（异形）

509
00:23:38,416 --> 00:23:39,958
‪猫很适合这样的角色

510
00:23:40,041 --> 00:23:43,750
‪因为它们虽然跟我们
‪共存于同一个屋檐下

511
00:23:43,833 --> 00:23:46,958
‪却完全不关心我们是死是活

512
00:23:51,625 --> 00:23:54,125
{\an8}‪如果你生活的环境里没有宠物

513
00:23:54,208 --> 00:23:56,833
{\an8}‪完全可以用镜子来把人吓一跳

514
00:23:56,916 --> 00:23:57,916
{\an8}‪（危机四伏）

515
00:23:58,000 --> 00:24:04,083
{\an8}‪镜子吓人是所有电影里最伟大的套路

516
00:24:05,375 --> 00:24:06,791
‪镜子永远都管用

517
00:24:06,875 --> 00:24:11,708
{\an8}‪因为你以为家里只有你自己
‪当你关上药柜

518
00:24:11,791 --> 00:24:15,333
‪身后突然出现一件东西 真的很吓人

519
00:24:15,416 --> 00:24:17,541
{\an8}‪《美国狼人在伦敦》这部片里

520
00:24:17,625 --> 00:24:20,083
{\an8}‪那一幕很精彩 而且很有趣

521
00:24:20,166 --> 00:24:24,416
‪他们能用很平常的东西吓人一跳

522
00:24:24,500 --> 00:24:25,458
‪你不是真的

523
00:24:25,541 --> 00:24:27,250
{\an8}‪每当我们看到一面镜子

524
00:24:27,333 --> 00:24:29,708
{\an8}‪或者看见人们进入洗手间 都会担心

525
00:24:29,791 --> 00:24:32,833
{\an8}‪我们在洗手间的时候是最脆弱的

526
00:24:32,916 --> 00:24:37,083
{\an8}‪那是个很私密的空间
‪我觉得很方便利用

527
00:24:37,750 --> 00:24:40,041
‪你也可以用它制造假悬念

528
00:24:40,125 --> 00:24:42,291
{\an8}‪让一个人进入洗手间

529
00:24:42,375 --> 00:24:43,625
{\an8}‪然后营造紧张气氛

530
00:24:43,708 --> 00:24:46,041
{\an8}‪不一定非要有事发生

531
00:24:46,666 --> 00:24:47,750
‪（威廉尖叫）

532
00:24:47,833 --> 00:24:49,791
‪当你在电影里听到有人尖叫

533
00:24:49,875 --> 00:24:52,541
{\an8}‪它很有可能是我们的下一个俗套

534
00:24:52,625 --> 00:24:54,708
{\an8}‪但你可能完全意识不到

535
00:24:57,416 --> 00:25:03,375
{\an8}‪原版的“威廉尖叫”是1951年
‪录下来的一声尖叫

536
00:25:03,458 --> 00:25:06,833
{\an8}‪有个人走在大沼泽里
‪短吻鳄咬住了他的腿

537
00:25:06,916 --> 00:25:07,958
{\an8}‪然后他就…

538
00:25:08,041 --> 00:25:09,500
{\an8}‪（军鼓）

539
00:25:10,458 --> 00:25:12,375
‪再跳到几年后

540
00:25:12,458 --> 00:25:15,125
{\an8}‪有位声音剪辑师想找一段尖叫声

541
00:25:15,208 --> 00:25:19,041
{\an8}‪因为可怜的二等兵威廉中了一支箭

542
00:25:19,125 --> 00:25:20,625
‪威廉！

543
00:25:20,708 --> 00:25:22,458
‪来了 我把烟斗灌满就去！

544
00:25:26,583 --> 00:25:29,625
‪他发出的声音
‪或者说覆盖在他声音上的

545
00:25:29,708 --> 00:25:31,625
‪就是“威廉尖叫”

546
00:25:31,708 --> 00:25:36,125
{\an8}‪威廉尖叫开始大量出现在好莱坞
‪不管角色是中了枪 被推倒

547
00:25:36,208 --> 00:25:38,541
{\an8}‪或者被巨型塑料蚂蚁消灭

548
00:25:39,083 --> 00:25:41,958
{\an8}‪但是当人们在很远很远的星系
‪也听到它

549
00:25:42,041 --> 00:25:44,500
{\an8}‪它就成了一个圈内笑话

550
00:25:45,583 --> 00:25:47,541
‪它出现在了《星球大战》里

551
00:25:47,625 --> 00:25:50,000
‪然后乔治卢卡斯、史蒂文斯皮尔伯格

552
00:25:50,083 --> 00:25:52,000
‪基本上所有人都玩了一把

553
00:25:52,833 --> 00:25:53,958
{\an8}‪（星球大战：绝地归来）

554
00:25:54,041 --> 00:25:57,333
{\an8}‪这是个业内笑话 昆汀用过它

555
00:25:57,583 --> 00:25:58,583
{\an8}‪（无耻混蛋）

556
00:25:58,666 --> 00:26:01,291
{\an8}‪他不是不小心用到的

557
00:26:01,375 --> 00:26:05,375
{\an8}‪他是故意采用了这种声音的套路

558
00:26:05,458 --> 00:26:07,083
{\an8}‪（金刚不坏）

559
00:26:07,166 --> 00:26:09,166
‪可能是因为它的音调

560
00:26:09,250 --> 00:26:12,000
‪你会产生一种奇怪的安心感

561
00:26:12,083 --> 00:26:16,125
{\an8}‪哪怕场面无比混乱
‪你都能听到威廉尖叫

562
00:26:16,875 --> 00:26:19,291
{\an8}‪现在它成了一个荒谬的圈内笑话

563
00:26:19,375 --> 00:26:21,708
‪我认为我们需要找个新的尖叫声

564
00:26:21,791 --> 00:26:25,166
‪好莱坞喜欢自诩是平等的典范

565
00:26:25,250 --> 00:26:27,041
‪但是如果你仔细观察

566
00:26:27,125 --> 00:26:30,083
‪使用显微镜 男人发明的显微镜来看

567
00:26:30,166 --> 00:26:34,000
{\an8}‪男人和女人在银幕上形象的塑造
‪会有细微的差别

568
00:26:34,083 --> 00:26:35,166
{\an8}‪（蓝妹妹）

569
00:26:35,250 --> 00:26:37,000
{\an8}‪（复仇者集结）

570
00:26:37,083 --> 00:26:39,916
{\an8}‪蓝妹妹原则是说 在充满阳刚气息的

571
00:26:40,000 --> 00:26:42,416
‪冒险电影里 必然有一位女性

572
00:26:42,500 --> 00:26:45,500
‪好让电影制作人满足多样性的要求

573
00:26:45,583 --> 00:26:47,208
{\an8}‪你好 蓝妹妹

574
00:26:47,291 --> 00:26:50,458
{\an8}‪这个说法源自经典的蓝精灵世界

575
00:26:50,541 --> 00:26:54,208
‪在住满蓝精灵兄弟的国度
‪蓝妹妹是唯一的女性

576
00:26:55,250 --> 00:26:58,958
{\an8}‪这个桥段随处可见 比如儿童卡通片

577
00:26:59,041 --> 00:27:00,833
{\an8}‪你在干什么？快下来

578
00:27:00,916 --> 00:27:02,291
{\an8}‪我要给那个男孩一个教训

579
00:27:02,375 --> 00:27:04,291
‪比如《复仇者联盟》

580
00:27:04,375 --> 00:27:06,166
{\an8}‪总要我给你们男生收拾烂摊子

581
00:27:06,250 --> 00:27:08,583
{\an8}‪还有一切动作电影

582
00:27:08,666 --> 00:27:10,791
{\an8}‪（银河护卫队）

583
00:27:10,875 --> 00:27:14,541
{\an8}‪这是电影里最讽刺的一种构想

584
00:27:14,625 --> 00:27:18,708
{\an8}‪一定要塞一个女性角色
‪好让男人们打量她

585
00:27:18,791 --> 00:27:19,708
‪怎么了？

586
00:27:20,333 --> 00:27:24,250
‪或者塞一个女性角色
‪让她斜着眼看着男人们

587
00:27:24,333 --> 00:27:26,250
‪并告诉男人们他们有多么幼稚

588
00:27:26,333 --> 00:27:29,291
{\an8}‪我大脚趾疼 我不理解背后的原理

589
00:27:29,375 --> 00:27:30,666
{\an8}‪（正义联盟）

590
00:27:30,750 --> 00:27:33,708
‪小孩 我的搭档都是小孩

591
00:27:34,250 --> 00:27:36,875
‪（高跟鞋动作戏）

592
00:27:36,958 --> 00:27:39,708
{\an8}‪不管你是花瓶女 还是女一号

593
00:27:39,791 --> 00:27:43,458
{\an8}‪你都有可能要穿着高跟鞋奔向

594
00:27:43,541 --> 00:27:44,625
‪或者逃离险境

595
00:27:46,958 --> 00:27:49,333
‪这等于自动给女人加了一道障碍

596
00:27:49,416 --> 00:27:52,666
‪穿这种高跟鞋根本不能跑
‪但她们不会脱掉这双鞋

597
00:27:52,750 --> 00:27:55,833
{\an8}‪哪怕是最近的一些电影里
‪女人仍然一瘸一瘸地

598
00:27:55,916 --> 00:27:57,458
{\an8}‪跑在路中间

599
00:27:57,541 --> 00:27:58,958
{\an8}‪（神秘追随）

600
00:27:59,041 --> 00:28:01,458
‪女人穿着高跟鞋跑的想法

601
00:28:01,541 --> 00:28:04,750
‪根源在于好莱坞喜欢把女人拍美一点

602
00:28:04,833 --> 00:28:07,541
{\an8}‪最终发展到完全不实际的地步

603
00:28:07,625 --> 00:28:08,791
{\an8}‪（越空追击）

604
00:28:08,875 --> 00:28:11,833
‪快速剪辑加上
‪恋物癖商店租来的皮衣皮裤

605
00:28:11,916 --> 00:28:14,916
‪女主角能够被塑造得更有卡通特色

606
00:28:17,625 --> 00:28:20,833
‪我真正无法理解的是 这个角色

607
00:28:20,916 --> 00:28:24,583
‪竟然会决定穿着高跟鞋出去跟人打架

608
00:28:24,666 --> 00:28:29,125
{\an8}‪比如猫女 穿这种鞋没办法打架
‪脚踝会断的

609
00:28:29,208 --> 00:28:32,541
‪所以会让一个英姿飒爽的
‪女动作英雄角色

610
00:28:32,625 --> 00:28:33,791
‪变得很虚伪

611
00:28:33,875 --> 00:28:37,583
‪这也是我受不了的
‪穿着胸罩做爱和穿着高跟鞋打斗

612
00:28:37,666 --> 00:28:40,250
‪不 我不要这么拍

613
00:28:40,333 --> 00:28:42,500
{\an8}‪（古灵精怪完美女孩）

614
00:28:42,583 --> 00:28:46,333
{\an8}‪再讲一个浮华城常见的俗套女性角色

615
00:28:46,416 --> 00:28:48,166
{\an8}‪古灵精怪完美女孩

616
00:28:52,291 --> 00:28:55,541
‪我会发出怪声或者做别人没做过的事

617
00:28:55,625 --> 00:28:58,958
‪我就能重新感觉自己很独特
‪哪怕只能持续一秒

618
00:28:59,041 --> 00:29:03,333
{\an8}‪她总是美得惊人
‪而性情总是异于常人

619
00:29:03,416 --> 00:29:07,625
‪我要去把仓鼠埋了 免得它被狗吃掉
‪来帮忙吗？

620
00:29:07,708 --> 00:29:09,500
{\an8}‪-养着奇怪的宠物
‪-老鼠！

621
00:29:09,583 --> 00:29:12,250
{\an8}‪这是古灵精怪完美女孩的经典特色

622
00:29:12,333 --> 00:29:14,916
{\an8}‪它叫鲁道夫 是一只雪貂

623
00:29:15,000 --> 00:29:18,333
{\an8}‪我最有名的事迹大概是杜撰了
‪“古灵精怪完美女孩”这个说法

624
00:29:18,416 --> 00:29:22,875
{\an8}‪这个词组是我为电影《伊丽莎白镇》

625
00:29:22,958 --> 00:29:24,500
{\an8}‪写的文章里杜撰的

626
00:29:24,583 --> 00:29:28,375
{\an8}‪《伊丽莎白镇》里
‪有个格外纯正的例子

627
00:29:28,458 --> 00:29:29,875
{\an8}‪由克斯汀邓斯特扮演

628
00:29:29,958 --> 00:29:32,125
{\an8}‪她话很多 也就是说她

629
00:29:32,208 --> 00:29:34,375
{\an8}‪总是说个不停

630
00:29:34,458 --> 00:29:37,416
‪能跟你聊天我真开心

631
00:29:37,500 --> 00:29:39,333
‪现在三点吧 我也不确定

632
00:29:39,416 --> 00:29:42,875
‪这个时间真好
‪大家都睡了 就我和你没睡

633
00:29:42,958 --> 00:29:46,333
‪能跟你谈天真好 你很用心地倾听

634
00:29:46,416 --> 00:29:49,541
‪完美女孩的概念满足了男性的幻想

635
00:29:49,625 --> 00:29:52,625
‪哪怕我们很抑郁 哪怕一事无成

636
00:29:52,708 --> 00:29:55,625
{\an8}‪这个女人还是会找到我们 她会开始

637
00:29:55,708 --> 00:29:57,416
{\an8}‪为我们的生命赋予意义

638
00:29:57,500 --> 00:29:59,458
‪我不习惯跟你这样的女孩相处

639
00:30:00,541 --> 00:30:02,625
‪因为我非常与众不同

640
00:30:02,708 --> 00:30:04,916
‪她教他怎么过得开心

641
00:30:05,000 --> 00:30:09,083
‪而他没有给她任何的回报

642
00:30:09,166 --> 00:30:14,625
‪这对男人来说是一种强有力的幻想
‪世上有这样一个女人

643
00:30:14,708 --> 00:30:17,708
‪有魔力的女人 她能拯救你

644
00:30:18,583 --> 00:30:19,791
{\an8}‪（我们将需要蒙太奇）

645
00:30:19,875 --> 00:30:22,916
{\an8}‪通常当电影演到三分之二
‪编剧意识到

646
00:30:23,000 --> 00:30:25,250
‪还有很多故事要讲 时间却不够了

647
00:30:25,333 --> 00:30:27,833
‪但是没关系 这就好像在比弗利山

648
00:30:27,916 --> 00:30:31,125
‪你可以用剪刀
‪剪掉任何你不喜欢的赘肉

649
00:30:31,208 --> 00:30:33,583
‪进入“蒙太奇模式”

650
00:30:33,666 --> 00:30:36,583
{\an8}‪我们最早说到蒙太奇

651
00:30:36,666 --> 00:30:40,291
{\an8}‪指的是爱森斯坦
‪《战舰波将金号》里的那种

652
00:30:40,375 --> 00:30:44,333
{\an8}‪从不同的角度把画面剪到一起的方法

653
00:30:44,416 --> 00:30:45,666
{\an8}‪（战舰波将金号）

654
00:30:45,750 --> 00:30:48,458
{\an8}‪它教会我们电影可不是

655
00:30:48,541 --> 00:30:51,708
‪像看舞台剧一样 直直地拍摄前方

656
00:30:51,791 --> 00:30:54,333
‪《战舰波将金号》
‪让观众第一次真正地

657
00:30:54,416 --> 00:30:57,291
‪认识了剪辑
‪看到了剪辑能实现的效果

658
00:31:00,000 --> 00:31:04,333
{\an8}‪这种技巧传开
‪迅速掌握了新电影语言的电影人

659
00:31:04,416 --> 00:31:07,125
‪像疯了一样地使用蒙太奇

660
00:31:07,208 --> 00:31:12,291
‪公寓楼 工厂 森林 远洋巨轮…

661
00:31:12,375 --> 00:31:14,250
‪蒙太奇其实就像速记

662
00:31:14,333 --> 00:31:18,291
{\an8}‪在很短的时间里交代大量故事情节

663
00:31:18,375 --> 00:31:19,375
‪好极了

664
00:31:19,458 --> 00:31:20,500
{\an8}‪（洛奇）

665
00:31:20,583 --> 00:31:23,583
{\an8}‪随着1970年代一组著名镜头的到来

666
00:31:23,666 --> 00:31:26,666
‪蒙太奇开始重拳出击

667
00:31:26,750 --> 00:31:28,833
‪《洛奇》里那组训练画面

668
00:31:28,916 --> 00:31:31,375
{\an8}‪是拍训练戏的黄金标准

669
00:31:31,458 --> 00:31:32,666
{\an8}‪（洛奇4）

670
00:31:32,750 --> 00:31:36,416
{\an8}‪我觉得没有人能超越
‪《洛奇》里那组训练戏

671
00:31:36,500 --> 00:31:38,250
‪刻苦训练的情节

672
00:31:38,333 --> 00:31:42,708
‪到了《洛奇4》
‪有31,9%的电影时长都是蒙太奇

673
00:31:42,791 --> 00:31:44,416
‪几乎占电影的三分之一

674
00:31:44,500 --> 00:31:46,666
‪其他场景大多是他在打人

675
00:31:47,416 --> 00:31:49,208
{\an8}‪（杀死比尔2）

676
00:31:50,458 --> 00:31:53,333
{\an8}‪电影能让我们真正体会到

677
00:31:53,416 --> 00:31:58,166
‪创造一种毫不费力的美
‪要付出多少努力

678
00:31:58,250 --> 00:32:00,708
‪我觉得这种俗套设计
‪没有受到应有的重视

679
00:32:01,916 --> 00:32:04,041
{\an8}‪（美国战队：世界警察）

680
00:32:04,666 --> 00:32:08,750
{\an8}‪蒙太奇里最优秀的
‪当然是《南方公园》主创的作品

681
00:32:08,833 --> 00:32:10,125
‪《美国战队：世界警察》

682
00:32:12,708 --> 00:32:16,291
‪它的天才之处在于 它不仅讽刺了

683
00:32:16,375 --> 00:32:18,416
‪蒙太奇的俗套之处

684
00:32:18,500 --> 00:32:21,625
‪而且故事讲到那里
‪我们确实需要蒙太奇

685
00:32:22,916 --> 00:32:26,375
‪电影里最让人脉搏加速的场景莫过于

686
00:32:26,458 --> 00:32:28,458
{\an8}‪高速追击另一辆车

687
00:32:28,541 --> 00:32:30,791
{\an8}‪但又没有快到追上的地步

688
00:32:30,875 --> 00:32:33,250
‪自从1903年的《汽车中的结婚》

689
00:32:33,333 --> 00:32:35,083
‪初次带来了肾上腺素的奔涌

690
00:32:35,166 --> 00:32:38,625
{\an8}‪动作电影一次又一次玩起了追车

691
00:32:38,708 --> 00:32:41,833
{\an8}‪有了技巧高超的导演
‪和车技纯熟的司机

692
00:32:41,916 --> 00:32:45,125
{\an8}‪和合适的剧本 它会成为
‪电影里决定性的时刻

693
00:32:46,500 --> 00:32:49,875
‪比如《布利特》
‪追车戏就是决定性的一场戏

694
00:32:50,875 --> 00:32:53,750
‪这些年来 开发踩油门追车的新花样

695
00:32:53,833 --> 00:32:56,250
‪是所有电影人面临的挑战

696
00:32:56,333 --> 00:33:00,708
{\an8}‪《法国贩毒网》里 一辆车
‪追逐一辆在地面行驶的地铁

697
00:33:00,791 --> 00:33:04,166
‪刺耳的尖叫 撞上罐子的声音

698
00:33:04,250 --> 00:33:07,500
‪女人推着婴儿车的画面

699
00:33:08,416 --> 00:33:11,916
‪可能发生的灾难让人心惊肉跳

700
00:33:12,750 --> 00:33:15,791
‪经典追车戏真正的要点是什么？

701
00:33:15,875 --> 00:33:18,416
{\an8}‪想到追车戏我首先想到

702
00:33:18,500 --> 00:33:20,083
{\an8}‪拍摄手刹的镜头

703
00:33:20,916 --> 00:33:22,750
{\an8}‪汽车在拐角处滑行

704
00:33:22,833 --> 00:33:24,583
{\an8}‪这个镜头肯定少不了

705
00:33:24,666 --> 00:33:28,458
{\an8}‪推车和各种杂物到处乱飞

706
00:33:31,500 --> 00:33:34,375
‪车子开进不能开车的地方

707
00:33:34,458 --> 00:33:36,125
{\an8}‪（谍影重重）

708
00:33:36,208 --> 00:33:39,000
{\an8}‪下台阶 或者找一个…

709
00:33:39,083 --> 00:33:41,500
{\an8}‪（金枪客）

710
00:33:45,125 --> 00:33:47,208
‪追车戏真的很难写

711
00:33:47,291 --> 00:33:49,250
‪因为你只能这样形容
‪往这边看 往那边看

712
00:33:49,333 --> 00:33:52,666
{\an8}‪转弯 物品碰撞 而且还要思考

713
00:33:52,750 --> 00:33:54,666
{\an8}‪如何拍出些许的新意

714
00:33:55,708 --> 00:33:59,500
{\an8}‪我觉得《狗男女》里
‪有一场很好的追车戏

715
00:34:01,541 --> 00:34:04,125
‪他的车卡在巷子里 很有意思

716
00:34:05,250 --> 00:34:09,541
{\an8}‪追车戏有很广泛的吸引力
‪甚至能衍生出一整个系列的电影

717
00:34:10,625 --> 00:34:14,083
{\an8}‪《速度与激情》
‪最开始讲的是非法赛车

718
00:34:14,166 --> 00:34:16,791
{\an8}‪但里面的追车戏经过了基因改造

719
00:34:16,875 --> 00:34:20,083
{\an8}‪呈现了一些史上最有野心的画面

720
00:34:21,250 --> 00:34:24,208
‪追车已经不再是在公路上疾驰

721
00:34:24,291 --> 00:34:26,708
‪必须从飞机上放下去

722
00:34:26,791 --> 00:34:28,375
{\an8}‪（速度与激情7）

723
00:34:29,875 --> 00:34:32,708
{\an8}‪汽车从大楼里冲出来往下掉

724
00:34:35,291 --> 00:34:39,958
{\an8}‪如今有了计算机合成影像
‪创造奇迹的成本就很低廉了

725
00:34:41,208 --> 00:34:44,458
‪物理的限制完全消失了

726
00:34:44,541 --> 00:34:47,916
{\an8}‪所以现在范迪塞尔可以跳下车

727
00:34:48,000 --> 00:34:52,458
{\an8}‪从空中救起女友并成功生还

728
00:34:52,541 --> 00:34:55,833
‪你知道眼前的画面不会

729
00:34:55,916 --> 00:34:59,333
‪伤及身体
‪所以做什么都不会再有危险

730
00:35:00,083 --> 00:35:03,583
{\an8}‪但另外一些电影
‪没有采用电脑合成图像技术

731
00:35:03,666 --> 00:35:07,083
{\an8}‪而是用老派的方式
‪制造刺激神经的场面

732
00:35:07,875 --> 00:35:11,125
{\an8}‪《极盗车神》颠覆了追车的俗套设定

733
00:35:11,208 --> 00:35:15,041
‪音乐通常会辅助画面

734
00:35:15,125 --> 00:35:17,833
‪而画面驱动着情节的发展

735
00:35:17,916 --> 00:35:21,250
‪二者做到了浑然一体

736
00:35:27,291 --> 00:35:30,458
‪《极盗车神》里
‪车子的移动就像舞蹈

737
00:35:30,541 --> 00:35:33,041
‪而且他们拍摄的方式很美

738
00:35:34,583 --> 00:35:37,916
‪追车的动作和歌曲非常同步

739
00:35:38,000 --> 00:35:42,291
‪感觉不像追车 而是一场音乐剧

740
00:35:46,375 --> 00:35:48,166
{\an8}‪（白人救世主）

741
00:35:48,250 --> 00:35:50,291
{\an8}‪在明智地塑造种族形象方面

742
00:35:50,375 --> 00:35:52,916
‪好莱坞做得实在不够好

743
00:35:53,000 --> 00:35:57,083
‪我大概是第一个有勇气
‪当众承认这一点的

744
00:35:57,166 --> 00:36:00,041
‪顺性别的白人

745
00:36:00,708 --> 00:36:04,291
‪你可以叫我先驱者
‪想叫我救世主也可以

746
00:36:04,375 --> 00:36:07,125
‪我不会教你怎么做 但是值得考虑

747
00:36:08,291 --> 00:36:12,541
{\an8}‪早期影片塑造白人救世主
‪可能是出于好意

748
00:36:12,625 --> 00:36:14,291
‪姬恩露易丝小姐 站起来

749
00:36:15,208 --> 00:36:17,041
‪但从今天的视角来看

750
00:36:17,708 --> 00:36:19,083
‪你父亲过世了

751
00:36:19,166 --> 00:36:22,500
‪大概是白人负罪感
‪在电影里的欲盖弥彰

752
00:36:23,250 --> 00:36:26,833
{\an8}‪白人救世主指的是
‪故事里出现一个白人

753
00:36:26,916 --> 00:36:30,333
{\an8}‪拯救黑人 让黑人不再受苦

754
00:36:30,416 --> 00:36:33,750
{\an8}‪你为什么觉得
‪有色人种需要你的帮助？

755
00:36:34,666 --> 00:36:36,333
‪-你为什么在意？
‪-敏妮

756
00:36:36,416 --> 00:36:38,500
‪也许你只是想让艾比琳惹上麻烦

757
00:36:38,583 --> 00:36:42,583
‪黑人角色只是白人进步的工具

758
00:36:42,666 --> 00:36:45,083
‪更全面地展现白人的仁慈

759
00:36:45,166 --> 00:36:49,875
{\an8}‪如果你看了
‪奥黛丽赫本演的《修女传》

760
00:36:49,958 --> 00:36:53,166
{\an8}‪她站在那里 旁边的一个白人修女

761
00:36:53,250 --> 00:36:56,958
{\an8}‪在教黑人女性怎么给孩子洗澡

762
00:36:57,041 --> 00:36:59,625
‪修女在教妈妈们怎么给孩子洗澡

763
00:36:59,708 --> 00:37:02,875
{\an8}‪那大概是这个做法最有名的例子

764
00:37:02,958 --> 00:37:05,833
{\an8}‪后来白人救世主以很多伪装形式出现

765
00:37:05,916 --> 00:37:08,416
{\an8}‪甚至包括最近这部
‪获得奥斯卡奖的影片

766
00:37:08,500 --> 00:37:11,333
‪讲一个白人救了一位
‪世界级的爵士钢琴家

767
00:37:11,875 --> 00:37:14,375
‪这位先生不许我在这里用餐

768
00:37:14,458 --> 00:37:17,541
‪你没有搞明白
‪他今晚要演奏 他是主角

769
00:37:17,625 --> 00:37:20,833
‪不好意思 这是本餐厅的规定

770
00:37:20,916 --> 00:37:23,458
‪《绿皮书》获得了同一年的最佳影片

771
00:37:23,541 --> 00:37:27,166
{\an8}‪而更加讽刺的是 《黑豹》
‪和《黑色党徒》也是同年问世

772
00:37:27,250 --> 00:37:29,875
{\an8}‪如果你真的对黑人的故事感兴趣

773
00:37:29,958 --> 00:37:31,625
‪有那两部电影可以看

774
00:37:31,708 --> 00:37:33,250
‪（有魔力的黑人）

775
00:37:34,208 --> 00:37:38,625
‪跟“白人救世主”能配成一对的
‪是迪士尼1946年的电影

776
00:37:38,708 --> 00:37:41,750
{\an8}‪《南方之歌》
‪描绘奴隶制废除不久后

777
00:37:41,833 --> 00:37:43,958
{\an8}‪种植园的生活

778
00:37:44,041 --> 00:37:47,708
‪它的核心人物雷穆斯叔叔正好符合

779
00:37:47,791 --> 00:37:49,125
‪我们要说的下一个套路

780
00:37:49,208 --> 00:37:50,708
‪有魔力的黑人

781
00:37:50,791 --> 00:37:55,083
‪雷穆斯叔叔这个角色
‪帮助了在种植园生活的

782
00:37:55,166 --> 00:37:58,750
‪一个白人男孩 给他讲了很多故事

783
00:37:58,833 --> 00:38:02,125
{\an8}‪这首歌就从里面蹦出来了

784
00:38:02,208 --> 00:38:03,458
{\an8}‪（南方之歌）

785
00:38:05,833 --> 00:38:08,333
‪这又是一个老套的桥段
‪“快乐的黑人”

786
00:38:08,416 --> 00:38:11,250
‪这些都是种族歧视说法
‪我都用了引号

787
00:38:11,333 --> 00:38:15,291
‪一年一度的颁奖礼
‪好莱坞迎来了第20届…

788
00:38:15,375 --> 00:38:17,916
‪迪士尼版本里扮演雷穆斯叔叔的人

789
00:38:18,000 --> 00:38:21,666
‪詹姆斯巴斯凯特
‪成了第一个获得奥斯卡奖的黑人

790
00:38:21,750 --> 00:38:24,666
‪但它不是正儿八经的奥斯卡
‪只是一座荣誉奖

791
00:38:24,750 --> 00:38:27,250
‪因为他们觉得他竞争力不够

792
00:38:27,333 --> 00:38:30,291
‪无法角逐最佳男主角或最佳男配角

793
00:38:30,375 --> 00:38:32,958
‪这个说法是因为
‪斯派克李导演传播开的

794
00:38:33,041 --> 00:38:37,458
‪他识别出这种冒犯人的套路
‪通常有某种神秘的力量

795
00:38:37,541 --> 00:38:40,000
‪你通常不知道这个角色从哪里来

796
00:38:40,083 --> 00:38:45,000
‪为什么出现 他们自然存在
‪为你提供指引 提供智慧

797
00:38:45,083 --> 00:38:46,666
{\an8}‪花瓶的事别放在心上

798
00:38:46,750 --> 00:38:48,250
{\an8}‪什么花瓶？

799
00:38:48,333 --> 00:38:49,541
{\an8}‪（黑客帝国）

800
00:38:50,791 --> 00:38:51,916
‪就是那个花瓶

801
00:38:52,000 --> 00:38:56,083
{\an8}‪我发现“有魔力的黑人”的桥段
‪很不真实

802
00:38:56,166 --> 00:38:58,208
‪因为我个人平时从来不喜欢

803
00:38:58,291 --> 00:39:00,208
‪帮助白人解决问题

804
00:39:00,291 --> 00:39:02,625
{\an8}‪《绿里奇迹》里约翰卡菲这个角色

805
00:39:02,708 --> 00:39:06,125
{\an8}‪个性简单 没受过教育
‪被冤枉杀了两个白人小孩

806
00:39:06,208 --> 00:39:07,666
‪而判刑入狱

807
00:39:07,750 --> 00:39:12,125
‪在死囚牢 他很好地利用了
‪在人世的剩余时间

808
00:39:12,208 --> 00:39:13,875
‪让白人不要过意不去

809
00:39:13,958 --> 00:39:15,166
‪老大你好

810
00:39:15,250 --> 00:39:18,416
‪故事发生在监狱里
‪白人狱警处决了一个

811
00:39:18,500 --> 00:39:21,208
‪没有犯罪的黑人囚犯
‪狱警受到了黑人的原谅

812
00:39:21,291 --> 00:39:25,666
‪这很明显是在通过幻想对白人负罪感

813
00:39:25,750 --> 00:39:29,958
‪进行安抚和安慰 让我不忍直视

814
00:39:30,041 --> 00:39:35,291
{\an8}‪《冒牌天神》里的摩根弗里曼
‪对有魔力的黑人这个套路

815
00:39:35,375 --> 00:39:37,166
{\an8}‪得出了一个终极的神学结论

816
00:39:38,166 --> 00:39:39,250
‪我是上帝

817
00:39:39,333 --> 00:39:42,958
{\an8}‪摩根弗里曼扮演“有魔力的黑人”
‪格外优秀

818
00:39:43,041 --> 00:39:47,125
‪他是有魔法的黑人上帝
‪是“有魔力的黑人”的上帝

819
00:39:47,208 --> 00:39:50,833
‪天啊 我觉得摩根弗里曼
‪重新定义了有魔力的黑人

820
00:39:51,416 --> 00:39:55,500
{\an8}‪在《重返荣耀》里
‪有魔力的黑人可能实现了

821
00:39:55,583 --> 00:39:58,958
‪他最高的价值 让一个白人重振雄风

822
00:39:59,041 --> 00:40:00,958
‪我差点送你上西天

823
00:40:01,625 --> 00:40:04,625
‪不会 先生 我在你的正前方

824
00:40:04,708 --> 00:40:08,083
‪看你打球的方式 我猜我不会有危险

825
00:40:08,166 --> 00:40:11,208
‪它有一点让人非常不舒服

826
00:40:11,291 --> 00:40:14,416
‪电影里的故事发生在1930年代
‪那时有大量黑人

827
00:40:14,500 --> 00:40:17,666
‪遭私刑处死 到处都是三K党

828
00:40:17,750 --> 00:40:20,291
‪而威尔史密斯扮演的角色

829
00:40:20,375 --> 00:40:22,375
{\an8}‪一心只想帮马特达蒙

830
00:40:22,458 --> 00:40:25,166
{\an8}‪在高尔夫球场上打出完美的成绩

831
00:40:25,250 --> 00:40:30,916
{\an8}‪只有你 这颗球 这杆旗

832
00:40:31,000 --> 00:40:34,000
‪对 演员跟别人一样 也要赚钱

833
00:40:34,083 --> 00:40:38,041
‪我也干过不想干的工作
‪我觉得威尔史密斯肯定不会

834
00:40:38,125 --> 00:40:40,375
‪反复重看《重返荣耀》

835
00:40:40,458 --> 00:40:43,291
‪俄亥俄州等地方可能有白人会重看它

836
00:40:43,375 --> 00:40:46,000
‪所以 希望他们看得开心吧

837
00:40:47,875 --> 00:40:49,375
{\an8}‪（你杀了我爸爸）

838
00:40:49,458 --> 00:40:51,583
{\an8}‪何必再去编曲折离奇的情节？

839
00:40:51,666 --> 00:40:55,458
{\an8}‪这个套路可以把一切复仇故事
‪都简单地总结为…

840
00:40:55,541 --> 00:40:57,250
{\an8}‪你杀了我父亲

841
00:40:57,333 --> 00:40:59,208
{\an8}‪可以是经典西部片

842
00:40:59,291 --> 00:41:00,500
{\an8}‪你杀了我父亲

843
00:41:00,583 --> 00:41:03,166
{\an8}‪甚至包括某部跟蜘蛛有关的大片

844
00:41:03,250 --> 00:41:05,041
‪你杀了我父亲

845
00:41:05,125 --> 00:41:07,458
{\an8}‪不过约翰威克大开杀戒

846
00:41:07,541 --> 00:41:09,958
{\an8}‪却并不需要太多动机

847
00:41:10,250 --> 00:41:12,208
{\an8}‪你偷了我的车

848
00:41:13,750 --> 00:41:15,500
{\an8}‪还杀了我的狗

849
00:41:18,416 --> 00:41:22,166
‪电影里的动物往往能感知
‪跟它们同台的人类明星

850
00:41:22,250 --> 00:41:24,041
‪感觉不到的东西

851
00:41:24,125 --> 00:41:26,708
‪会不会是动物比我们更具智慧？

852
00:41:26,791 --> 00:41:29,166
‪不可能 有一半的傻动物
‪还在边走路边大便

853
00:41:29,250 --> 00:41:33,875
‪但它们的鼻子似乎有超自然能力
‪能感知危险

854
00:41:33,958 --> 00:41:35,083
‪（有第六感的动物）

855
00:41:35,166 --> 00:41:36,416
‪上帝的生物

856
00:41:36,500 --> 00:41:38,833
{\an8}‪超自然现象的盖革计数器

857
00:41:38,916 --> 00:41:40,083
{\an8}‪（蒙上你的眼）

858
00:41:40,166 --> 00:41:43,583
{\an8}‪如果有吓人的事发生
‪动物总是第一个知道

859
00:41:44,208 --> 00:41:46,625
{\an8}‪马儿 死了就跺一下

860
00:41:46,708 --> 00:41:48,333
‪没死就跺三下

861
00:41:51,166 --> 00:41:52,625
‪你瞧瞧 它知道

862
00:41:52,708 --> 00:41:55,416
{\an8}‪担心儿子是黑暗王子吗？

863
00:41:55,500 --> 00:41:58,416
{\an8}‪那就找一群能闻到魔王的狒狒

864
00:42:01,666 --> 00:42:05,666
{\an8}‪不过在好莱坞 恶魔最大的敌人
‪是人类最好的朋友

865
00:42:05,750 --> 00:42:07,875
{\an8}‪狗的角色是警告你

866
00:42:07,958 --> 00:42:11,083
‪狗的角色是告诉你 这里有点不对劲

867
00:42:11,166 --> 00:42:12,791
{\an8}‪怎么了 伊巴兹？

868
00:42:13,500 --> 00:42:15,041
{\an8}‪从看不见的鬼

869
00:42:15,125 --> 00:42:16,291
{\an8}‪你在干什么？

870
00:42:16,375 --> 00:42:18,166
{\an8}‪到潜在的吸血鬼

871
00:42:18,250 --> 00:42:20,083
{\an8}‪（捉鬼小灵精）

872
00:42:20,416 --> 00:42:22,666
{\an8}‪而且不仅仅是超自然现象

873
00:42:22,750 --> 00:42:25,958
{\an8}‪敏感的狗狗也能闻出人间的恶魔

874
00:42:27,791 --> 00:42:30,125
‪泰德邦迪 你被发现了

875
00:42:32,416 --> 00:42:34,875
{\an8}‪电影里有很多短命角色

876
00:42:34,958 --> 00:42:38,875
{\an8}‪帮凶、冲锋队员
‪还有两天就要退休的警察

877
00:42:38,958 --> 00:42:41,875
{\an8}‪而排在榜单最前列的
‪必然是男女同性恋

878
00:42:41,958 --> 00:42:45,208
‪好莱坞出了名地喜欢把同性恋写死

879
00:42:45,291 --> 00:42:46,375
{\an8}‪听我说

880
00:42:46,458 --> 00:42:50,125
{\an8}‪好莱坞最早探讨
‪男女同性恋关系的电影…

881
00:42:50,208 --> 00:42:52,500
‪我像他们说的那样爱着你

882
00:42:52,583 --> 00:42:55,708
‪是《双姝怨》
‪它毫无同情心地讲述了奥黛丽赫本

883
00:42:55,791 --> 00:42:58,291
‪和雪莉麦克雷恩所饰演的
‪两个老师的故事

884
00:42:58,375 --> 00:43:00,250
‪她们被指责产生了同性爱

885
00:43:00,333 --> 00:43:02,625
‪最终导致其中一个人自杀

886
00:43:04,333 --> 00:43:05,166
{\an8}‪（费城故事）

887
00:43:05,250 --> 00:43:09,458
{\an8}‪不过 虽然好莱坞在努力讲述
‪性少数群体角色遇到的麻烦

888
00:43:09,541 --> 00:43:12,166
‪但同时也很喜欢把他们写死

889
00:43:13,875 --> 00:43:18,166
{\an8}‪当它们触及了同性恋真实遭遇的

890
00:43:18,250 --> 00:43:19,375
{\an8}‪（卡斯帕萨蒙 电影评论家）

891
00:43:19,458 --> 00:43:23,875
{\an8}‪苦难和折磨 我觉得俗套一点也无妨

892
00:43:25,416 --> 00:43:28,083
{\an8}‪比如《断背山》

893
00:43:28,166 --> 00:43:31,041
{\an8}‪它不是爱情故事 它讲的是迫害

894
00:43:31,125 --> 00:43:32,583
‪持续了很多年的迫害

895
00:43:32,666 --> 00:43:34,708
‪所以当死亡最终来临

896
00:43:34,791 --> 00:43:37,625
{\an8}‪这其实是电影自身逻辑的支配

897
00:43:37,708 --> 00:43:39,333
{\an8}‪他只有39岁

898
00:43:39,416 --> 00:43:43,750
{\an8}‪到了评奖季 关于同性恋人士
‪死亡的传记电影很受青睐

899
00:43:43,833 --> 00:43:46,625
{\an8}‪他们喜欢有人惨死的电影

900
00:43:46,708 --> 00:43:47,541
{\an8}‪（米尔克）

901
00:43:47,625 --> 00:43:51,250
{\an8}‪对 这一点我作证
‪因为我在《你能原谅我吗？》里

902
00:43:51,333 --> 00:43:52,708
‪演过一个同性恋

903
00:43:52,791 --> 00:43:56,416
{\an8}‪我扮演的角色杰克霍克因艾滋病而死

904
00:43:56,500 --> 00:43:59,625
‪你确实睡过曼哈顿一半的男人

905
00:44:01,958 --> 00:44:03,458
‪我想把这句话写在墓碑上

906
00:44:03,541 --> 00:44:05,500
‪所以没错 这句话是对的

907
00:44:07,625 --> 00:44:12,708
‪在题名奥斯卡的性少数群体角色里
‪有40%的角色

908
00:44:12,791 --> 00:44:14,833
‪活不到播放片尾演员表的时候

909
00:44:16,875 --> 00:44:18,166
‪（关键时刻高科技失灵）

910
00:44:18,250 --> 00:44:20,625
‪让一个角色身处险境有一个好办法

911
00:44:20,708 --> 00:44:23,458
{\an8}‪先是依赖科技手段 然后它失灵了

912
00:44:23,541 --> 00:44:26,833
{\an8}‪在《碟中谍》里
‪他从大厦外面向上攀登时

913
00:44:26,916 --> 00:44:28,166
{\an8}‪你会觉得“真酷”

914
00:44:28,250 --> 00:44:29,416
{\an8}‪但是你会想

915
00:44:29,500 --> 00:44:32,416
{\an8}‪现在你身处大厦外侧
‪万一它失灵的话…

916
00:44:33,458 --> 00:44:35,458
‪这时剧情立即出现了起伏

917
00:44:35,541 --> 00:44:39,583
‪谁没遇到过攀登大厦的时候
‪忘记带上手套充电器的情况？

918
00:44:39,666 --> 00:44:42,666
{\an8}‪不过大多数技术失灵更接地气一点

919
00:44:42,750 --> 00:44:44,416
{\an8}‪（双重赔偿）

920
00:44:44,500 --> 00:44:48,916
{\an8}‪上车后一拧钥匙 车子没法点火
‪这种事我们都遇到过

921
00:44:52,875 --> 00:44:55,083
‪几年前开始 人人都拥有了手机

922
00:44:55,166 --> 00:44:58,375
‪这是我与外界沟通的最后希望
‪惨了 电池没电了

923
00:44:58,458 --> 00:45:00,291
{\an8}‪（致命ID）

924
00:45:00,375 --> 00:45:04,291
{\an8}‪技术手段必须失灵
‪才能让我们全神贯注地思考

925
00:45:04,375 --> 00:45:05,541
‪“他们接下来怎么办？”

926
00:45:05,958 --> 00:45:07,458
{\an8}‪（致命ID）

927
00:45:08,666 --> 00:45:10,958
{\an8}‪不管是尖端科技

928
00:45:11,041 --> 00:45:15,333
‪车子还是手机
‪科技失灵总是意味着危险

929
00:45:18,166 --> 00:45:20,250
{\an8}‪（愤怒地扫空桌面）

930
00:45:20,333 --> 00:45:23,875
{\an8}‪你生气了 刚巧坐在一张桌前？
‪那就愤怒地扫空桌面吧

931
00:45:23,958 --> 00:45:25,625
{\an8}‪该死！

932
00:45:26,208 --> 00:45:29,875
{\an8}‪你发大财的伟大计划
‪被特立独行的警察破坏了？

933
00:45:31,833 --> 00:45:35,458
{\an8}‪你是神经外科医生 却双手被废？

934
00:45:37,416 --> 00:45:40,708
{\an8}‪你是有雄心壮志的军事律师
‪却遇到一位五星上将？

935
00:45:40,791 --> 00:45:43,916
{\an8}‪感谢你参与“我们该不该听从这则

936
00:45:44,000 --> 00:45:47,000
‪愚蠢至极的意见？”这个游戏

937
00:45:47,083 --> 00:45:50,083
‪搞什么？要不顺便踢踢椅子吧

938
00:45:51,333 --> 00:45:55,000
{\an8}‪特立独行的警察杰克吉伦哈尔
‪横扫这张桌子时遇到了挑战

939
00:45:55,083 --> 00:45:57,458
{\an8}‪桌上的东西扫不掉

940
00:45:59,000 --> 00:46:01,250
‪难怪键盘会挨打

941
00:46:04,041 --> 00:46:07,458
‪每个英雄都需要一个恶人做对手

942
00:46:07,541 --> 00:46:10,000
‪我们绕了半天才说到他

943
00:46:10,083 --> 00:46:12,583
‪但他一直在等你 邦德先生

944
00:46:13,208 --> 00:46:14,750
‪（坏人）

945
00:46:14,833 --> 00:46:18,333
‪如果主角很帅 那就意味着坏人

946
00:46:18,416 --> 00:46:22,125
{\an8}‪必须是他的绝对反义词
‪电影主创会让我们

947
00:46:22,208 --> 00:46:23,666
{\an8}‪很容易看出他们是谁

948
00:46:23,750 --> 00:46:26,625
‪请允许我自我介绍一下

949
00:46:27,958 --> 00:46:31,166
‪我是恩斯特斯塔夫罗布洛费德

950
00:46:31,250 --> 00:46:35,125
{\an8}‪我们要把他们塑造得不一样
‪塑造得丑陋畸形

951
00:46:35,208 --> 00:46:38,833
{\an8}‪他们身上有疤 说明他们很邪恶
‪连狮子也不例外

952
00:46:38,916 --> 00:46:40,208
{\an8}‪凶手

953
00:46:40,291 --> 00:46:43,333
{\an8}‪你要讲故事 你要告诉观众

954
00:46:43,416 --> 00:46:46,583
‪你的角色参与过邪恶的活动

955
00:46:46,666 --> 00:46:49,541
{\an8}‪过去可能遭受过肢体暴力

956
00:46:49,625 --> 00:46:53,625
{\an8}‪实现你的命运

957
00:46:53,708 --> 00:46:56,416
{\an8}‪毁容的恶人历史很悠久

958
00:46:56,500 --> 00:47:00,250
{\an8}‪从默片时代就存在
‪比如《歌剧魅影》里的

959
00:47:00,333 --> 00:47:01,791
{\an8}‪朗钱尼

960
00:47:01,875 --> 00:47:05,083
‪他用发夹把鼻孔撑开了

961
00:47:06,458 --> 00:47:11,708
{\an8}‪问题是 给予坏人这种特征

962
00:47:11,791 --> 00:47:14,125
{\an8}‪现实中会让那些

963
00:47:14,208 --> 00:47:16,625
‪具有这些身体缺陷的人产生想法

964
00:47:16,708 --> 00:47:20,625
‪觉得人们会认为他们很危险 很吓人

965
00:47:20,708 --> 00:47:22,125
‪应该避开他

966
00:47:22,208 --> 00:47:28,125
{\an8}‪将一个人的外貌缺陷等同于心理变态

967
00:47:28,208 --> 00:47:30,833
‪显然是极其侮辱人的

968
00:47:30,916 --> 00:47:33,541
‪很多反角比英雄有文化多了

969
00:47:33,625 --> 00:47:37,083
{\an8}‪有的恶人会聊起他们喜欢贝多芬

970
00:47:37,750 --> 00:47:38,916
{\an8}‪你不喜欢贝多芬

971
00:47:39,000 --> 00:47:40,833
{\an8}‪热爱生活中一些更美好的事物…

972
00:47:40,916 --> 00:47:42,541
{\an8}‪你不知道你错过了什么

973
00:47:42,625 --> 00:47:44,583
‪让人觉得他有另外一面

974
00:47:44,666 --> 00:47:49,041
{\an8}‪这样更能烘托出他邪恶的形象

975
00:47:49,125 --> 00:47:54,583
{\an8}‪我把他的肝吃了 加了点蚕豆
‪配了美味的基安蒂葡萄酒

976
00:47:57,208 --> 00:47:58,708
‪他们往往是英国人

977
00:47:58,791 --> 00:48:01,708
‪它往往是恶人下面的一个子类别

978
00:48:01,791 --> 00:48:04,916
{\an8}‪好莱坞把英国口音当成

979
00:48:05,000 --> 00:48:07,083
{\an8}‪提升格调的速成办法

980
00:48:07,750 --> 00:48:11,291
{\an8}‪你是否有意与我们合作？
‪请简要回答是或否

981
00:48:11,375 --> 00:48:16,333
{\an8}‪如果坏蛋有英国口音
‪那么英雄要对付的

982
00:48:16,416 --> 00:48:18,041
‪就不仅仅是残酷了

983
00:48:18,125 --> 00:48:20,208
‪背后还有其他的东西

984
00:48:20,291 --> 00:48:23,291
‪英国演员片酬很低 在选角时

985
00:48:23,375 --> 00:48:25,083
{\an8}‪你说对白的时候

986
00:48:25,166 --> 00:48:28,708
{\an8}‪可以用坚定的语气乱说一通

987
00:48:28,791 --> 00:48:33,625
{\an8}‪历史、传统、文化 不是概念

988
00:48:33,708 --> 00:48:37,000
{\an8}‪这些是我留在兽穴当镇纸的战利品！

989
00:48:37,083 --> 00:48:41,916
‪独白是一大套路 因为它来源于戏剧

990
00:48:42,000 --> 00:48:46,916
{\an8}‪发生的一切都是根据我的设计完成的

991
00:48:47,000 --> 00:48:50,291
{\an8}‪是编剧要让观众理解
‪这个角色的想法

992
00:48:50,375 --> 00:48:52,708
‪以及他们为什么要这样做

993
00:48:52,791 --> 00:48:57,625
‪我在《金刚狼3：殊死一战》里
‪有一段恶人独白

994
00:48:57,708 --> 00:49:01,083
‪我独白了整整一段
‪陈述我为什么这样做

995
00:49:01,166 --> 00:49:02,708
‪杀害他的家人等等

996
00:49:02,791 --> 00:49:06,125
{\an8}‪我意识到我们不需要
‪停止完善我们吃喝的东西

997
00:49:06,208 --> 00:49:08,291
{\an8}‪我们用这些产品让自己变得完美

998
00:49:08,375 --> 00:49:10,500
‪我的独白说到一半的时候…

999
00:49:11,875 --> 00:49:14,000
‪他杀死了我 罪有应得

1000
00:49:14,833 --> 00:49:18,666
‪到了某一个时候
‪电影的情节会停止发展

1001
00:49:18,750 --> 00:49:21,125
‪这个时候就叫做结尾

1002
00:49:21,208 --> 00:49:23,666
‪这时 你一直在旋转的
‪叙事的“盘子”

1003
00:49:23,750 --> 00:49:26,916
‪突然编织到了一起
‪这个比喻可能不是太好

1004
00:49:27,000 --> 00:49:29,833
‪这时电影进行到了高潮收尾

1005
00:49:29,916 --> 00:49:33,333
‪它的形式只有有限的几种

1006
00:49:33,416 --> 00:49:34,708
{\an8}‪（最后的女孩）

1007
00:49:35,375 --> 00:49:37,750
{\an8}‪希区柯克的《惊魂记》里
‪珍妮特利标志性的沐浴场景

1008
00:49:37,833 --> 00:49:41,916
{\an8}‪很多人认为它是
‪下一个套路的灵感源头

1009
00:49:42,000 --> 00:49:43,958
‪它也告诉我们 一定要锁好浴室门

1010
00:49:44,041 --> 00:49:48,833
‪希区柯克让这个概念流行起来
‪即让女性经历

1011
00:49:48,916 --> 00:49:53,125
{\an8}‪这些可怕的状况
‪是他打造了这种期待

1012
00:49:53,208 --> 00:49:56,500
{\an8}‪在惊悚片里 女性扮演的是核心角色

1013
00:49:57,583 --> 00:50:00,250
{\an8}‪18年后 珍妮特利的女儿

1014
00:50:00,333 --> 00:50:02,208
{\an8}‪杰米李柯蒂斯扮演了一个角色

1015
00:50:02,291 --> 00:50:06,500
{\an8}‪让她成了“最后的女孩”
‪这个套路的代表人物

1016
00:50:09,083 --> 00:50:13,250
‪由怪物对决最后的女孩
‪《月光光心慌慌》里的杰米李柯蒂斯

1017
00:50:13,333 --> 00:50:15,708
‪是第一人 很有象征意义

1018
00:50:15,791 --> 00:50:17,916
‪她就是蓝图 她就是原型

1019
00:50:18,000 --> 00:50:21,041
‪最后的女孩是唯一
‪没跟别人发生过性关系的

1020
00:50:21,125 --> 00:50:23,333
{\an8}‪比她的朋友更纯洁

1021
00:50:23,416 --> 00:50:26,791
{\an8}‪你这样经常做保姆
‪一定存了一大笔钱

1022
00:50:26,875 --> 00:50:28,375
{\an8}‪他们觉得我太聪明

1023
00:50:28,458 --> 00:50:29,916
‪因为她没有跟人发生性关系

1024
00:50:30,000 --> 00:50:33,333
‪不知道为什么 她拥有比朋友们
‪更优秀的观察能力

1025
00:50:33,416 --> 00:50:35,125
‪能率先感觉到事情不太对劲

1026
00:50:35,208 --> 00:50:40,416
‪如果想拍好“最后的女孩”式电影
‪就需要组织一伙朋友

1027
00:50:40,500 --> 00:50:44,125
{\an8}‪镇上的老人会告诉你们
‪他还在附近活动

1028
00:50:44,208 --> 00:50:48,083
{\an8}‪他们在外面的某个地方进行周末狂欢

1029
00:50:48,166 --> 00:50:51,041
‪你要给他们虚构一个理由

1030
00:50:51,125 --> 00:50:54,458
{\an8}‪让他们往不同的方向走
‪做各种淘气的事

1031
00:50:54,541 --> 00:50:56,250
{\an8}‪（十三号星期五）

1032
00:50:56,333 --> 00:51:00,291
{\an8}‪这是另一个套路 另一个法则
‪如果做了下流事

1033
00:51:00,375 --> 00:51:01,541
‪你就会死

1034
00:51:01,833 --> 00:51:03,166
{\an8}‪（十三号星期五）

1035
00:51:03,250 --> 00:51:05,916
{\an8}‪他们会一个接一个被派出去

1036
00:51:06,000 --> 00:51:08,125
{\an8}‪（猛鬼街）

1037
00:51:09,583 --> 00:51:11,791
{\an8}‪电影中间总有一段平静时期

1038
00:51:11,875 --> 00:51:14,583
{\an8}‪大家都以为杀人狂可能已经死了

1039
00:51:14,666 --> 00:51:16,333
{\an8}‪（月光光心慌慌）

1040
00:51:16,416 --> 00:51:19,625
‪然后风云突变 她又要重新证明自己

1041
00:51:21,666 --> 00:51:25,458
{\an8}‪但她不会死 她变成了观众的代理人

1042
00:51:25,541 --> 00:51:28,875
{\an8}‪（德州电锯杀人狂）

1043
00:51:31,583 --> 00:51:34,000
‪我觉得如果没有《惊声尖叫》的存在

1044
00:51:34,083 --> 00:51:39,625
‪砍杀电影和里面的俗套设计
‪现在应该已经彻底消亡了

1045
00:51:39,708 --> 00:51:43,250
{\an8}‪《惊声尖叫》避免了这种
‪喷血的俗套设计

1046
00:51:43,333 --> 00:51:47,541
{\an8}‪一开场不久就派出了
‪“最后的女孩”德鲁巴里摩尔

1047
00:51:49,291 --> 00:51:55,416
‪我觉得《惊声尖叫》系列
‪真正承认了恐怖片爱好者

1048
00:51:55,500 --> 00:52:00,875
‪和他们掌握的俗套常识
‪并用它做出了相反的效果

1049
00:52:00,958 --> 00:52:02,750
{\an8}‪有什么意义？都是一样的

1050
00:52:02,833 --> 00:52:04,916
{\an8}‪愚蠢的凶手跟踪大胸女郎

1051
00:52:05,000 --> 00:52:08,750
{\an8}‪她应该跑出门 却跑上了楼
‪简直侮辱智商

1052
00:52:08,833 --> 00:52:11,666
{\an8}‪不过这个最后的女孩
‪还是合理地活了下来

1053
00:52:11,750 --> 00:52:12,958
{\an8}‪（你是下一个）

1054
00:52:13,041 --> 00:52:14,875
‪而今天 她的准备更充分了

1055
00:52:15,791 --> 00:52:17,083
{\an8}‪去你的全家

1056
00:52:17,166 --> 00:52:19,250
{\an8}‪快到结尾时 我们给了她力量

1057
00:52:19,333 --> 00:52:21,750
{\an8}‪接近结尾时 我们让人们去害怕她

1058
00:52:21,833 --> 00:52:23,250
{\an8}‪吃啊 贱人！

1059
00:52:24,041 --> 00:52:27,166
{\an8}‪比起她为了生存反抗的那些人

1060
00:52:27,250 --> 00:52:29,958
‪有时她反而更致命

1061
00:52:31,958 --> 00:52:34,625
‪而且准确地说 她比电影里

1062
00:52:34,708 --> 00:52:38,000
{\an8}‪那些所谓“凶手”杀的人更多

1063
00:52:38,083 --> 00:52:39,500
{\an8}‪（准备好了没）

1064
00:52:39,583 --> 00:52:43,333
{\an8}‪我觉得它进化成了现在的一种俗套

1065
00:52:43,416 --> 00:52:46,125
‪成了疗愈食物式的大结局

1066
00:52:46,375 --> 00:52:47,208
{\an8}‪（准备好了没）

1067
00:52:47,291 --> 00:52:48,125
{\an8}‪该死

1068
00:52:49,375 --> 00:52:53,041
‪接下来 爆炸性的电影套路
‪滴答作响的定时炸弹

1069
00:52:53,708 --> 00:52:55,750
{\an8}‪有一枚炸弹 上面装了在计时的钟

1070
00:52:55,833 --> 00:52:58,208
{\an8}‪如果英雄不赶快行动
‪就会有很多人丧命

1071
00:52:58,291 --> 00:53:00,000
{\an8}‪这本身就很戏剧化

1072
00:53:00,083 --> 00:53:02,958
{\an8}‪-还有多少时间？
‪-20秒

1073
00:53:03,041 --> 00:53:06,833
{\an8}‪无论是什么电影
‪当你看到数字滴哒着倒计时

1074
00:53:06,916 --> 00:53:08,583
‪你的心肯定会悬在空中

1075
00:53:09,291 --> 00:53:10,333
{\an8}‪（搏击俱乐部）

1076
00:53:10,416 --> 00:53:14,083
{\an8}‪这种套路最经典的形式
‪总是会有剪电线这个情节

1077
00:53:14,166 --> 00:53:15,166
‪你确定吗？

1078
00:53:15,250 --> 00:53:18,541
{\an8}‪剪红线还是蓝线？红线还是蓝线？

1079
00:53:18,625 --> 00:53:20,500
{\an8}‪（雷公弹）

1080
00:53:24,250 --> 00:53:27,583
{\an8}‪这是最精彩的非动作类高潮戏了

1081
00:53:27,666 --> 00:53:28,833
{\an8}‪现在这些场景更厉害了

1082
00:53:28,916 --> 00:53:32,500
{\an8}‪通常会有一个人入侵到系统里
‪阻止了倒数

1083
00:53:33,458 --> 00:53:35,541
‪“刻耳柏洛斯”失效

1084
00:53:35,625 --> 00:53:39,375
‪如果是英雄在拆炸弹
‪你知道他肯定会成功

1085
00:53:39,458 --> 00:53:42,208
‪对我们来说有趣的部分是 “他会在

1086
00:53:42,291 --> 00:53:44,875
{\an8}‪差几秒的时候成功？”

1087
00:53:44,958 --> 00:53:48,500
{\an8}‪有无数次 都是到最后一秒

1088
00:53:52,958 --> 00:53:54,083
‪（爱情征服一切）

1089
00:53:54,166 --> 00:53:56,375
{\an8}‪爱情故事结尾必不可少的

1090
00:53:56,458 --> 00:54:00,250
{\an8}‪是爱人的狂奔
‪情侣二人疯狂地跟时间

1091
00:54:00,333 --> 00:54:04,541
{\an8}‪和地理赛跑
‪去向爱人宣示不朽的爱恋

1092
00:54:04,625 --> 00:54:08,875
{\an8}‪通常会有爱人在最后一刻奔向机场

1093
00:54:08,958 --> 00:54:10,833
{\an8}‪或者去阻止婚礼的进行

1094
00:54:10,916 --> 00:54:13,125
{\an8}‪《毕业生》就是其中的一个经典

1095
00:54:17,041 --> 00:54:19,541
‪天啊 上帝 不要

1096
00:54:20,208 --> 00:54:23,708
{\an8}‪追逐结束后
‪确信了对方永恒的爱之后

1097
00:54:23,791 --> 00:54:27,666
‪奖励是一个激情的吻
‪天气状况通常不佳

1098
00:54:28,333 --> 00:54:32,541
‪但当你完全沉醉在跟一个人的热吻中

1099
00:54:32,625 --> 00:54:35,708
‪你会根本不在意周遭的坏天气

1100
00:54:35,791 --> 00:54:38,666
{\an8}‪我觉得《四个婚礼和一个葬礼》
‪里面就是这样

1101
00:54:38,750 --> 00:54:41,708
{\an8}‪这两个人面临无数障碍

1102
00:54:41,791 --> 00:54:46,708
‪注定不该在一起 最后 在雨中…

1103
00:54:49,000 --> 00:54:51,250
{\an8}‪雨还在下吗？我没注意

1104
00:54:55,375 --> 00:54:58,458
{\an8}‪格蕾塔葛韦格导演
‪在《小妇人》的结尾这样拍过

1105
00:54:59,333 --> 00:55:01,916
{\an8}‪（小妇人）

1106
00:55:02,708 --> 00:55:07,625
{\an8}‪她要求电影结尾要有这样一幕
‪我跟她聊过这件事

1107
00:55:07,708 --> 00:55:12,458
‪她说“我要这么拍
‪我从小看着它长大 我要这么拍”

1108
00:55:12,541 --> 00:55:17,208
‪如果一切顺利 到了结尾
‪观众会坐立不安

1109
00:55:17,291 --> 00:55:19,291
‪一边好奇好人究竟能不能赢

1110
00:55:19,375 --> 00:55:22,083
{\an8}‪一边又百分之百确信他肯定会赢

1111
00:55:22,166 --> 00:55:23,291
{\an8}‪（好人一定会取得胜利）

1112
00:55:24,208 --> 00:55:27,833
{\an8}‪怎么不去欺负跟你一样块头的人？

1113
00:55:27,916 --> 00:55:31,291
{\an8}‪道德准则规定 英雄要杀死恶人

1114
00:55:35,458 --> 00:55:37,041
‪死得越精彩

1115
00:55:37,583 --> 00:55:41,250
‪击败恶人这件事就越有满足感

1116
00:55:41,333 --> 00:55:44,833
{\an8}‪一个人从高空坠落是结束故事的

1117
00:55:44,916 --> 00:55:46,541
{\an8}‪一种经典方式

1118
00:55:46,625 --> 00:55:49,166
{\an8}‪《虎胆龙威》里就很出彩

1119
00:55:49,250 --> 00:55:52,875
‪给他们几秒的时间
‪让他们知道自己被击败了

1120
00:55:56,875 --> 00:55:58,958
‪对观众来说也是很满足的时刻

1121
00:55:59,041 --> 00:56:03,875
{\an8}‪能让他们产生安全感
‪你征服了恶人 所以感到安全

1122
00:56:07,583 --> 00:56:10,666
‪而且恶人的行为越是卑鄙

1123
00:56:10,750 --> 00:56:14,916
{\an8}‪我们就越是祈祷他恶有恶报

1124
00:56:15,000 --> 00:56:19,166
{\an8}‪一个优秀的恶人会点燃观众的嗜血欲

1125
00:56:19,250 --> 00:56:21,083
{\an8}‪这下你快活了 混蛋

1126
00:56:21,166 --> 00:56:22,458
{\an8}‪（虎胆龙威2）

1127
00:56:27,750 --> 00:56:31,958
{\an8}‪电影的结尾
‪我们希望好人能战胜坏人

1128
00:56:32,041 --> 00:56:36,041
{\an8}‪这种想法驱动着我们
‪去看大英雄类型的电影

1129
00:56:36,125 --> 00:56:39,500
‪我们知道一切都会好起来
‪世界并不可怕

1130
00:56:40,583 --> 00:56:43,541
{\an8}‪在签约的影片续集上映之前

1131
00:56:43,625 --> 00:56:46,500
{\an8}‪在电影的最后时刻
‪主人公们会沐浴着

1132
00:56:46,583 --> 00:56:49,875
{\an8}‪来自不易的光辉 骑着马奔向远方

1133
00:56:52,250 --> 00:56:54,458
‪在片头时我说过 我是罗伯劳

1134
00:56:54,541 --> 00:56:57,583
‪我们对好莱坞的套路就分析到这里

1135
00:56:57,666 --> 00:57:01,083
‪现在我只能骑上马背或者摩托车

1136
00:57:01,166 --> 00:57:04,708
‪朝着日落飞奔
‪画面响起摇滚乐或者嘻哈乐

1137
00:57:05,375 --> 00:57:07,041
‪但那样我的西装就毁了

1138
00:57:07,125 --> 00:57:11,000
‪那我就弹个响指作为信号
‪我们突然开始进演员表吧

1139
00:58:09,041 --> 00:58:11,541
‪字幕翻译: 魏健