摄影师英文翻译 【中英文对照】伍迪艾伦的摄影师教你如何拍摄低成本电影-学生作业可参考

Darius Khondji on set

电影摄影师戴瑞斯·康吉跟许多牛逼的天才导演都合作过：大卫·芬奇（【七宗罪】、【颤栗空间】），让·皮埃尔·热内和马克·卡罗（【黑点狂想曲】、【童梦失魂夜】），贝纳尔多·贝托鲁奇（【偷香】），丹尼·博尔（【海滩】），王家卫（【蓝莓之夜】）和迈克尔·哈内克（【趣味游戏】、【爱】）。他最新发布的作品是伍迪艾伦的【爱在罗马】，这个电影将在今晚的洛杉矶电影节首次面世，同时它也将有机会凭借此片角逐奥斯卡最佳摄影的提名。没错，艾伦的【午夜巴黎】也是他拍的。

Cinematographer Darius Khondji has worked withsome wildly divergent and distinctive talents: David Fincher (“Se7en,” “PanicRoom”), Jean-Pierre Jeunet and Marc Caro (“Delicatessen,” “The City of LostChildren”), Bernardo Bertolucci (“Stealing Beauty”), Danny Boyle (“The Beach”),Wong Kar Wai (“My Blueberry Nights”) and Michael Haneke (“Funny Games,”“Amour”) among them. His next film in release is Woody Allen’s “To Rome WithLove” June 22 – the film has its North American premiere to kick off the LosAngeles Film Festival tonight – and it’s yet another opportunity for theOscar-nominated DP to show off what he can do with a location. (Yes, he shotAllen’s romance-drenched “Midnight in Paris,” too.)

康吉是出生在德黑兰的法国人，目前处在【爱】获得戛纳电影节大奖后和即将去纽约拍摄杰姆士·葛瑞的一个年代戏【夜莺】的少有的职业间歇中。（事实上，为了休息和给自己充电，他已经推掉了几个电影，包括伍迪艾伦的下一部电影【悲伤】（直译叫这个名，估计是【蓝色茉莉】）。最近康吉对于低成本独立电影的观点有点转变。

Khondji, a Frenchman born in Tehran, iscurrently on a rare professional hiatus after the Palme d’Or-winning CannesFilm Festival run of “Amour” and the completion of principal photography onJames Gray’s forthcoming New York City-set period drama. (He actually passed ona few movies, including, sadly, Allen’s next film, to get a summer break andrecharge himself.) Khondji has made a point of turning his attention to theselower-budget indie films recently, shooting commercials to help underwrite aless commercially driven feature career.

Midnight in Paris

他说：我不介意拍摄一个为了挣很多钱的电影，如果它是个好电影。但是我不想因为会支付我两倍或更多酬金而选择拍这个电影。我很高兴能只考虑艺术的原因来选择电影，所有我拍过的伟大的电影，我都是基于这一点来选择的。同薛尼·波勒拍摄【翻译风波】对于我是一个很好的经验，导演自由的选择他想要的方式，按照他自己的想法写剧本，找他希望找的演员，最后自己剪辑，不用去听任何制片厂告诉他要做什么。这正是我现在有意做的选择。

“I don’t mind if a movie is made for a lot ofmoney if it is great, but I don’t want to choose movies because I’m paid twicemore,” he says. “It’s nice to be able to choose movies only for artisticreasons. All of these great movies that I’m making now, it’s because of that.After I did ‘The Interpreter’ with Sydney Pollack, which was a good experience,I just wanted to do films where I know that the director is free to choose theway he wants to make his movie, write the script the way he wants, have theactors he wants, has final cut, doesn’t have to listen to any studio tellinghim what to do. That’s the choice I’m making at the moment, deliberately.”

因为他正在拍摄一个1500万或者更少成本的电影，Indiewire网站认为他是提问的最佳人选：在一个低成本电影中你在大部分拍摄的时候都能做什么？下面就是来自奥斯卡提名的电影摄影师提供的6个基本要素。

Since he’s now focusing on work in the $15million-or-less range, Indiewire thought he'd be a great talent to ask: Whatcan you do to make the most of a location on a small budget? Here are sixessential tips from the Oscar-nominated cinematographer.

1、Go on scouting trips as early as you can so you have a say in what willwork or not work.尽早的勘景，所以在什么有用什么没用上面你有发言权。

“我很爱去看最后的两个或三个场景来从中挑选最终的场景，为了能够说些什么”。康吉说。“当我在实景中拍摄电影时，去实地探查对我是很重要的，甚至比我带我的工作人员去做技术探查还要早。同美术指导一起去是很重要的，如果导演也去是最好的，跟美术指导指出那些没在剧本中体现但你需要怎样做的才能达到最好的效果。

“I love going to see the last two or threelocations to choose from, to be able to say something,” Khondji said. “When Ido a movie on location, it’s really important for me to go and scout locationseven before the technical scout with my crew. It’s crucial to go with theproduction designer — and the director, if you can — to figure out how you’regoing to make the best out of it for the storytelling.”

2、Lighting can highlight character. And headaches, if you’re not careful.灯光能突显特性。但如果你不仔细，会造成一个很头痛的局面。

“当然，你首要的工作相当于要知道这个角色是怎样的和这个故事是怎样的”康吉说。“当你拍摄一个电影时最重要的是要思考为了把角色代入到这个区域中你要如何给场景打光。通常你希望使用穿过窗户的自然光。当你拍摄一个低成本的电影时，你不希望选择一个在10楼而且需要在窗外使用很大的灯的场景。你必须要选择一个窗外带平台的场景，或者你可以从二楼往下打灯，或者你可以在窗外直接打灯的场景。同时你也希望天花板带有一定高度，这样你可以使用顶光。

“Of course, your work has to first correspondto who the character is and what the story is about,” he said. “The mostimportant thing to bring out when you shoot a movie is to figure out how you’regoing to light the location in order to bring it into this area of thecharacter. Often you want natural light coming in through the windows, let’ssay. When you do movies on low budgets, you don’t want to have a location thatrequires a very big light right outside the window when you’re 10 stories up.You have to find a location where you have a terrace outside, or you can lightfrom a second floor, or you can light through the windows for daylight. Youalso want to have a certain height of ceilings so you can put toplights.”

3、It helps to be strategic (and lucky) about the mutability of locations.在策略上要灵活应对现场的多变性

如果你喜欢一个场景的建筑或者情绪，或者对它的感受，但是你实在是不喜欢它的颜色，那么你需要去找可以允许你改变颜色的场景。他说：我们的目光总是盯在演员的性格住在这里是否合适。例如，我和艾伦在罗马拍摄【爱在罗马】时，我们在为演建筑师的杰西·艾森柏格住的地方选景。我们看了很多场景。这个过程中伍迪艾伦碰到了一些问题，觉得这些总是达不到他脑中想要的。因为艺术总监和美术指导我们在Trastevere看中了一个地方，因此我们一起用素描把我们选的一个场景改变成伍迪艾伦脑中想要的场景。那是一个老式的loft，里面住着一个老艺术家。我们改造完之后，达到了伍迪脑中的想法。而那个老艺术家的女儿竟然是另一个电影的外联制片。

“If you like a location for its architecture ormood, for the feel of it, but you don’t actually like the color, you need tohave a location where you’re allowed to change the color,” he said. “It’s allalways aiming at who the character is that lives in this location. Forinstance, when we were doing ‘To Rome With Love’ with Woody in Rome, we were lookingfor a location for young architects (Jesse Eisenberg, Greta Gerwig). We lookedin many locations. Woody had a problem finding a location that really fit whathe had in mind. So with the art director and production designer, we sketchedhow we could transform one into what Woody had in mind, because we found onethat we really liked in the Trastevere area. There was an artist living in thiskind of loft in an old house. Then we transformed it, we made it to what Woodyhad in mind. And the artist’s daughter was actually a location manager onanother movie!”

Woody Allen's"To RomeWith Love"

4、Leave yourself awide-angle option.给自己多留点后路

然后你和你的工作人员要做技术试片，这部在罗马拍摄的电影对于我是一个美妙的经验，非常要感谢和我一起工作的出色的意大利团队--制片组、所有的摄影、灯光和移动组是我一直梦寐以求的要合作的那种人。但是当你在实景拍摄时，你必须要做好万全的准备，因为你不可能像在棚里一样把墙挪走来摆机位。你必须要知道摄影机的极限在哪儿里，拍摄一个镜头结束后你知道你有足够的空间往后移动来拍摄更广的画面，而不是换上一个可笑的带畸变的广角镜头。为了避免使用夸张的广角镜头拍摄，你必须选择一个墙或者房间的一面允许你有足够的后撤空间来获得导演想要的景别的场景。这听起来是显而易见的，但有时比如你在使用变形宽银幕镜头拍摄2.35:1时，你必须要退后很远才能拍到一个全景。否则，你只能一直拍中景和特写。如果你不勘景，会很糟糕。

“Then you do your technical scout with yourcrew,” he said. “Working in Rome on this movie was a wonderful experience, andvery easy thanks to the excellent Italian crew we had – the production and allcamera, lighting and grip crew were a dream to work with. But when you shoot onlocation, you have to be incredibly prepared because you can’t move the wallaround like when you’re in a studio. You really need to know that the camera isgoing to fit there, that with the focal lens you’re going to be able to go backfar enough to get a wide shot without putting on a ridiculously wide lens thatwould be very vulgar or warping. In order not to do that, you need to have alocation where the wall or the side of a room allows you to go back enough toget the wide shot that the director wants. This sounds obvious, but sometimeslet’s say you shoot CinemaScope anamorphic with 2.35:1, you have to go muchfurther back to go to a wide shot, in terms of height. Otherwise, you shootmedium and close-up all the time. If you don’t scout out your location, it canbe really bad.”

5、Learn how to use natural light on interiors.在内景拍摄时学会使用自然光

遗憾的时，大量的低成本电影不得不使用数字机拍摄。康吉说：你必须要计算。如果你在日光下拍摄，很重要的一个事情就是要有应对太阳的A计划和B计划。如果你没有钱打灯，你不得不要考虑在你场景前面的建筑物怎样，能否使用它把阳光反射进来。或者试着把镜头都安排在白天拍摄。拍摄日戏时，我几乎都是从窗外打光，但如果你不得不要从窗内打光，或者在窗户顶上放灯来模拟日光，这时你必须要确定你有足够高的天花板。

“Unfortunately, a lot of these low-budgetmovies have to shoot small-format digital,” Khondji said. “You have tocalculate. If you shoot daylight, what would be a great thing to do is have aPlan A and Plan B with the Sun. If you don’t have the money to put up lights,you have to think about how the building is in front of your location andbounce the light into the apartment. Or try to schedule your shooting aroundthe sunlight. I light mostly from outside the windows for daylight, but if youhad to light from inside the windows or on top of the windows to reproduce thelight, then you have to make sure you have high enough ceilings.”

Norah Jones inWong Kar-Wai's "My Blueberry Nights." Photo by Macall Polay, courtesyThe Weinstein Company

6、Have one strong thematicidea, not a bagful.要有一个强烈的主题性的概念，不是一个大杂烩。

在拍摄过这么多电影后我学会一点：带着一个强烈的概念去拍摄。一个强烈的概念在某种意义上它推动着你的工作。然后你可以由它衍生出一系列的想法。这时它就像一个”概念树“一样：你对每一个场景都有一个想法，同时有一个主要的想法在电影中。在你拍摄电影之前像这样的概念和想法越多，最终呈现出的影片越好。我发现和我工作的伟大的导演，通常他们对他们想要做的影片在视觉呈现上都有一个主要的概念。我意识到他们通常没有其它更多的想法，因为当你在讲故事上有很多视觉呈现的方法时你总会被妨碍住。我不认为你带着一兜子的想法去拍摄是一件好的事情。最好是带着一个主要的概念或一个主要的想法去拍电影。拿【爱在罗马】来说是色彩的饱和度，事实上意大利的场景大都像60和70年代的老意大利电影中一样，而现代的场景，当美国人在罗马时使用了更广的镜头和一点冷色，锐度高了一点，降了一点饱和。

“I’ve learned one general thing in filmmaking:to work with one strong idea,” says Khondji. “One strong concept that pushesyou to work in a certain way artistically. Then you can bring it into a familyof ideas. Then it’s like a tree: You have an idea for each scene, but one mainidea in the film. The more you have concepts and ideas like this before you planthe film, the better it is. I’ve found that the great directors I work with,usually for the movie they have one strong idea visually that makes the filmwhat it is. I realized that usually they don’t have multiple ideas, because youalways get clogged when you have so many ideas to tell a story visually. Idon’t think it’s great to come with a bag full of ideas. It’s better to bebehind one strong statement or one strong idea for a film. For ‘To Rome WithLove’ it was the saturation of the colors, the fact that the Italian sceneswere more like the old Italian cinema of the ’60s and ’70s, and the modernscenes, when the Americans are in Rome, are more wide angle, a little bitcolder, sharper, less saturated. It’s thematically brilliant.”