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低成本电影制作的艺术是存在的艺术 The art of low-budget filmmaking is the art of being
充分准备和最大化你所拥有的。 thoroughly prepared and maximizing what you have.
你的准备工作是在设计故事板的每一个层面上， And your preparation is at every level of design storyboarding,
技术侦察，选择你的位置 technical scouting, selecting your locations,
为了最大限度地利用一个地点， trying to get the most bang for the buck out of a location,
而不是建立一个集合。 versus having to build a set.
你会牺牲一些控制权。 You'll sacrifice some control.
你会牺牲一些设计元素 You'll sacrifice some design elements
如果你有足够的预算的话，你可能会这么做 that you might have if you'd had the budget to build
一百万美元一套。 a million dollar set.
但它是好的。 But it's okay.
无论如何，故事的精髓将会显现出来。 The essence of the story will come through regardless.
你要根据他们的能力来选择船员 And you're going to select a crew for their ability
快速行动，不留俘虏， to move fast and take no prisoners,
但仍然产生高质量的图像 but still generate images of high quality
它们的体重都超过了它们的体重 that are punching above their weight,
这样你最终得到的电影看起来很棒， so that the film that you end up with looks great,
你看不到也感觉不到妥协 and you don't see and feel the compromises
你知道你做了什么。 that you know you've made.
你不会有电影明星，这 You're not going to have a movie star, which
它能强迫你成为一种祝福吗 can be a blessing in the sense that it forces you
作为一个电影制作人，要赢得观众的喜爱 as a filmmaker to earn the audience's
对那个角色感兴趣。 interest in that character.
所以我认为它创造了工艺。 So I think it builds craft.
也许你得以更温和的方式拍两三部电影 And maybe you have to make two or three films at a more modest
预算证明—— budget to prove--
为了证明自己，为了学习手艺， to prove yourself, and to learn the craft,
为了证明你学会的手艺， and to prove that the craft that you have learned to,
你知道的，那个符号 you know, the powers that be, that sign--
在支票上签字。 that sign the checks.
选择一个可以在预算限制下完成的主题 Pick a subject that can be done within the budget constraints
你有。 that you have.
让我给你们举一个我自己经历的例子。 And let me give you an example from my own experience.
我闯进来的时候拍了《终结者》 When I was breaking in, I made "The Terminator."
那是我第一次获得导演荣誉。 That was my first directing credit.
我在写的时候就知道 And I knew when I was writing it that I
我得写个预算。 had to write it for a budget.
所以我知道我会在现场，所以我没有 So I knew I was going to be on location, so I wasn't
能够建立集合。 going to be able to build sets.
现在，建造一套城堡的区别 Now, the difference between building a set of a castle
去一座城堡，一座大建筑，或是一座大豪宅 and going to a castle or a large building or large mansion
使用位置是控制的不同之处。 and using the location is a difference in control.
你可以推倒一堵墙。 You can knock out a wall.
你可以用长镜头。 You can go back on a longer lens.
你可以在风格上做你不能做的事情 You can stylistically do things in a set that you cannot do
在一个位置。 on a location.
观众在意吗? Does the audience care?
可能没有那么多。 Probably not that much.
你可能拿不到奥斯卡奖 You might not win an Academy Award
对于摄影或设计来说，由于限制， for cinematography or design because of the limitations,
但你还是能拍出一部好电影。 but you'll still make a damn good film.
所以问题是，你什么时候 So it's a question of, when are you
你花钱的地方回报递减? getting diminishing returns for where you're spending money?
《终结者》的构思也是如此 And so with "The Terminator," the idea
这是非常日常的，非常普通的，而不是奇异的， there was to be very everyday, very commonplace, not exotic,
出于特定的原因，然后将外来元素放入其中。 for a specific reason, then drop the exotic element into it.
这是贯穿《终结者》的主题 And that was really a motif throughout "The Terminator"
大部分是电影。 films, for the most part.
当然，第一部电影是关于， Certainly, the first film was about,
这就是洛杉矶的日常生活。 this is everyday Los Angeles.
这是一家餐厅。 This is a restaurant.
这是一个夜总会。 This is a nightclub.
这是一条城市街道。 This is a city street.
非凡的元素加入其中 And the extraordinary elements came into it
来自未来的凯尔·里斯和终结者 from the future, Kyle Reese, and the terminator.
即便如此，他们还是被迫交易 And even then, they were forced to deal
在武器等方面都有当代元素。 with contemporary elements in terms of weaponry, and so on.
这是设计出来的，原因很简单。 And that was done by design for a very simple reason.
我们买不起别的东西。 We couldn't afford anything else.
那个剧本写得很仔细 That script was carefully written
成为人们负担得起的东西。 to be something that was affordable.
因为我知道我只是一个入门级的电影制作人。 Because I knew I was coming in as an entry level filmmaker.
我就知道我得选一个 I knew that I was going to have to pick
我与视觉效果的斗争在一个非常 my battles with the visual effects in a very
可控的方式，使其在预算范围内可控。 controlled way, so that it was manageable within the budget.
所以我们会做一些假体效果。 So we'd do a few prosthetic effects.
我们把所有的大枪都留到最后，那就是内骨骼 We saved up all our big guns for the end, where the endoskeleton
被火所揭露。 is revealed by the fire.
一路上我们有几个假人， We had a few prosthetic gags along the way,
我们有几个未来的序列可能会更大 and we had a couple of future sequences that could be bigger
或者是更小，而不是胶卷所依赖的， or could be smaller, that the film didn't hinge on,
我可以做一些特效吗 where I could do some of the effects work
我已经学会了怎么做 that I had learned how to do.
因为我问自己，我能为这个故事带来什么 Because I asked myself, what do I bring to this specific story
除了我创造了它? other than that I created it?
我知道战术电影制作。 Well, I know tactical filmmaking.
我知道视觉效果。 I know visual effects.
我做了一些第二单位方向的动作。 I've done a bit of action second-unit direction.
对于一个早期的项目，你想要加入一些 With an early project, you want to come in with something that
说到你已经形成的优势， speaks to the strengths that you've already developed,
或者最好是史上最好的剧本。 or it better be the best damn screenplay in history.
我想说，这真的更重要， It's really more important, I would say,
对摄影艺术的技术理解 than the technical understanding of the art of photography
而灯光，就是与导演进行沟通 and lighting, is to have that communication with the director
的摄影。 of photography.
如果你和一个从没共事过的人 If you're working with someone you've never
以前工作过，花了很多时间 worked with before, spend a lot of time
和那个人一起看电影，说你喜欢的话 with that person looking at films and saying what you like
以及你所看到的和重要的东西。 and what you see and what's important.
问问摄影指导，我该怎么做? And ask the director of photography, how do I do that?
我们要怎么做呢? How will we do that?
我们怎么才能 How will we get that--
那种高度定向的柔和交叉光 that sort of highly directional soft cross light
从窗户进来? coming in through the window?
我们怎么能得到呢? How can we get that?
我们如何根据你的经验来获得那种丰富的音调呢? How can we get that richness of tone based on your experience?
你过去是怎么做到的? How have you done that in the past?
这对我来说意味着什么呢 And what will that involve for me technically
在拍摄的那天? during the shooting day?
如果我想改变角度 And if I want to change my angle--
假设我要走出窗户， let's say I'm going to go outside the window,
那个人走到窗前， and the person comes to the window,
怎么会突然看起来不是很平呢? how does that not suddenly look very flat?
因为我真的，灯光就在我身后 Because I'm literally-- I've got the lights right behind me
在这一点上。 at that point.
我们怎么作弊呢? Well, how will we cheat that?
我们将如何管理窗口反射? How will we manage window reflections?
我们在车里怎么拍? How will we shoot in cars?
我们将如何做所有这些事情? How will we do all these things?
所以要尽早进行对话。 So get that dialogue going as early as possible.
当我拍《终结者》的时候，我雇了亚当·格林伯格。 When I made "Terminator," I hired Adam Greenberg.
我和他坐下来，一起看了两部电影。 And I sat down with him, and we watched two films together.
一个是《银翼杀手》，一个是《路上的勇士》， One was "Blade Runner," and one was "The Road Warrior,"
《疯狂的麦克斯2》 so "Mad Max 2."
这两部电影我们都看了。 And we watched both those films.
我说，我想把这两种胶片都放进搅拌机里。 And I said, I want both of those films put into a blender.
他说，但它们完全不同。 And he said, but they're completely different.
我说，完全正确。 I said, exactly, exactly.
我们如何在这两部电影之间创造一个共同点， How do we create a common ground between those two films,
动感的，移动的摄像机，宽镜头，拖着屁股 the kinetic, moving camera, wide lenses, hauling ass before
跟在车后面，非常动感，但同时， and following cars, very dynamic, but at the same time,
那种忧郁的，有点黑色的，黑色电影的品质， that moody, sort of almost noir, film noir quality,
德国表现主义的特质——强烈的阴影， German expressionist quality-- strong shadows,
深黑色，硬边灯光，何处 deep blacks, hard edge lights, where
你需要非常精确的灯光控制才能达到那种效果? you need very precise lighting control to get that effect?
我说，我们需要弄清楚怎么做。 I said, we need to figure out how to do that.
我们谈了很多。 And we talked about it a lot.
我们甚至开车在镇上转了一圈 And we even went out and drove around the town
用测光表来确定哪些街道足够亮 with a light meter to find out what streets were bright enough
我们可以在晚上拍摄自然光线 that we could shoot essentially natural light at night
或夜间可用的灯光。 or available light at night.
因为我们就不用带 Because we wouldn't have to bring
有秃鹰，有灯光，还有我们买不起的东西。 in condors and lights and things that we couldn't afford.
我们刚刚发现了汞蒸气灯 So we just found mercury vapor lights
在更明亮的街道上。 on streets that were brighter.
一个很好的提示是车场，二手车场 And a good tip there is car lots, used car lots
或者买新车。 or new car lots.
他们总是有明亮的灯光。 They always have bright lights.
在每个城市，都有一排汽车经销商。 In every city, there's a row of, like, car dealerships.
就在那条街上拍吧，因为一切都 Just shoot on that street, because everything's all
亮了起来。 lit up.
而且你不需要任何额外的灯。 And you won't need any additional lights.
当然，这些天，摄像机 Of course, these days, the cameras
更加敏感。 are much more sensitive.
但我们当时用的是底片。 But we were shooting on negative at the time.
所以我们不得不，我们得想个办法 So you know, we had to-- we had to find a way
在没有太多灯光的情况下拍摄。 to shoot without a lot of lights.
亚当说，我们要开着大口拍摄。 And Adam said, we're going to be shooting wide open.
我们将用定焦镜头拍摄F1.4。 We'll be shooting at F1.4 on prime lenses.
所以你知道，我自学了 So you know, I had schooled myself
关于镜头和摄影的本质就足够了 on the nature of lenses and photography enough
这样我就不会有变焦镜头了。 by that point to understand I won't have a zoom lens.
所以如果我需要换镜片，那得花点时间。 So if I need to change lenses, that's going to take us time.
我得把这个因素考虑到我的拍摄中。 I have to factor that into my shooting day.
你知道，我想要一个斯坦尼康。 And you know, I wanted a Steadicam.
我们买不起斯坦尼康。 We couldn't afford a Steadicam.
所以DP用高速铁路做了一个钻机 So the DP made a rig with some speed rail
用管子把摄像机放进去， tubing to drop the camera down into it,
就像一个斯坦尼康低模式类型的位置。 like a Steadicam low-mode type position.
他只是在肩膀上绑了几根带子。 And he just kind of wore it with some straps over his shoulder.
他碰巧是个非常优秀的 And he happened to be an extremely good
手持操作符。 handheld operator.
所以他基本上创造了低模式的斯坦尼康镜头， So he created, essentially, low-mode Steadicam shots,
我们就是这样做的。 and we just did it that way.
所以你知道，你必须使用 And so you know, you have to use--
你必须使用书本上所有的技巧，并发明新的技巧。 you have to use every trick in the book and invent new ones.
整部电影的拍摄只用了42天。 The whole film was shot in about 42 days.
当我完成了，当我完成了那身体的射击， And when I got it done, when I got that body of shooting done,
我还需要一些镜头。 there were still some shots I needed.
所以我和五个人溜了回来 So I snuck back out with five people
拍摄了一周，五个人。 and shot for a week, five people.
我自己操作摄像机。 And I operated the camera myself.
我自己点的。 I lit it myself.
这些都是我做的。 I did all that.
所以你必须准备好实现你的目标 So you have to be prepared to accomplish your goal
以巧妙的方式知道在哪里可以妥协 in ingenious ways and know where it's okay to compromise
还有不在哪里。 and where it isn't.
提前排练一下。 And rehearse the crap out of it ahead of time.
因为排练是便宜的或者免费的，而且是有回报的。 Because rehearsals are cheap or free, and they pay off.
并且有非常非常好的沟通 And have very, very good communication
有了你的摄影指导， with your director of photography,
这样你就知道自己是什么样的人了 so that you know exactly how you're
要拍所有的东西。 going to shoot everything.
准备好B计划和C计划，以防万一 And be prepared with a plan B and a plan C, in case
下雨了，或者还有别的什么 it's raining, or there's something else that
在那天妨碍了你。 stands in your way on the day.
因为在这样的预算下，你 Because at that kind of budget, you're
再也回不去了。 not going to be able to get to go back.
你知道吗，我花了好几个小时打听便宜的房子 And you know, I go on for hours about all the cheap house
我们在《终结者》里用过的技巧 tricks that we used on "Terminator" to tell that--
来讲述这个故事。 to tell that story.
但最重要的是服务 But the important thing is to serve--
就是为故事服务。 is to serve the story.
找到一种服务故事的方式，并赋予它一些风格。 Find a way to serve the story and give it some style.
如果我现在在拍一部低成本的电影， If I were shooting a very low-budget film right now,
我每天需要做很多准备工作 and I need to get a lot of setups a day,
我每天都会有一个计划 I would have a game plan for every day
涉及到灯光的本质的拍摄。 of shooting that involved the nature of the lighting.
因为你在照明上浪费了很多时间。 Because you lose a lot of time to lighting.
它的技术。 And it's technical.
而是理解它需要时间来移动。 It's understanding it's going to take time to move.
如果你以这种方式设计了场景 If you've designed the scene in such a way
你有一个很大的照明变化，照明变化是 that you have a big lighting change, that lighting change is
你知道，这需要时间。 going to take time, you know.
一般来说，人们称之为转身。 Typically, people call it turning around.
你从这个方向拍摄了这个场景， You've shot the scene in this direction,
同样的照明也不能用。 and the same lighting can't be used.
如果你带着相机转个180度 If you bring the camera around to do your 180
倒转，或者肩膀的倒转， reverses or your reverse over the shoulders,
它看起来是平的。 it's going to look flat.
看起来会很可怕。 It's going to look horrible.
灯光都被骗了 And the lighting has to be all cheated
所以这个反转看起来很好看。 so that that reverse actually looks pleasing to the eye.
我记得有一次，为了证明自己， I remember once, just to prove the point to myself,
在我拍了《泰坦尼克号》和其他大片《泰坦尼克号》之后 after I had made "Titanic" and done these big films, "Titanic"
《真实的谎言》之类的电影 and "True Lies" and films like that,
我做了系列节目的最后一集 I did the last episode of a series
我制作的《黑暗天使》 that I was producing called "Dark Angel."
为了证明我能做到， And just to prove that I could do it,
我一天就做了117次。 I did 117 setups in one day.
我用下面的方法来做。 And I did it in the following way.
我说过，你不能带C档或者国旗 I said, you will not bring a C stand or a flag
或将沙袋或任何照明仪器放入布景。 or a sandbag or any lighting instrument into the set.
我们将从街对面点亮布景 We will light the set from across the street
用4个10k氙气，然后我把所有的枪都移到灯光下。 with four 10k Xenons, and I will move every shot to the light.
我们不会把灯光移到镜头前。 We won't move the lights to the shot.
这是一个很大的悬疑动作打斗场景。 And it was a big kind of suspense action fight scene.
一天有117个装置。 It was 117 setups in one day.
我用手持式拍摄的。 I shot it all handheld.
是我和另一个接线员。 It was myself and another operator.
我们不让工作人员进入工作空间。 We kept the crew out of the workspace.
我们有特技人员在旁边 We had the stunt people standing by
一接到通知就去看演员 to pop in for the actors at a moment's notice
在搏击编舞中。 within the fight choreography.
我们拍了很多次破碎玻璃的效果 We had all our multiple takes of our effects breaking glass
还有可分离的木门之类的东西 and breakaway wood doors, and things like
这都是事先安排好的。 that, all set up in advance.
我从来没有做过第二次相同的恶作剧。 I never did a second take of the same gag.
但我确实准备了5个恶作剧的镜头 But I did have five takes of the gag ready of somebody getting
从窗户扔出去的。 thrown through a window.
我们把它们从一扇窗户扔出去 We threw them through one window,
然后我们把它们扔进隔壁的窗户， and then we threw them through the next window,
我们把它们扔出了窗户。 and we threw them through the window.
我确保它们会切在一起。 And I made sure that it would all cut together.
你可以做一些这样的技巧。 So there are tricks like that that you can do.
和罗伯特有一点竞争 And it was a little bit of a competition with Robert
罗德里格斯，因为我觉得他做过， Rodriguez, because I think he had done, like,
在他的一部电影里，一天就安排了105次。 105 setups or something in one day on one of his films.
当然，罗伯特写了很多书，做了很多事 And Robert, of course, has written much and done much
传播他关于如何做低预算的想法。 to disseminate his ideas for how you do low budget.
所以关键是这是可以做到的，而且 So the point is it can be done, and it
可以用相对低水平的妥协来完成。小镜头大世界资源论坛 www.xjtdsj.com 感谢关注