1
00:00:00,367 --> 00:00:01,634
"麥斯，就是這裡了"

2
00:00:01,634 --> 00:00:02,435
"左邊還是右邊?"

3
00:00:02,435 --> 00:00:03,836
"呃....."

4
00:00:06,239 --> 00:00:06,639
"呃..."

5
00:00:06,639 --> 00:00:08,241
"快一點，麥斯!"

6
00:00:09,900 --> 00:00:10,210
"左邊!"

7
00:00:12,412 --> 00:00:15,482
嗨，我是Tony，這是幀影幀畫的極短篇

8
00:00:15,648 --> 00:00:18,510
警告，本影片將有《末日列車》嚴重劇透

9
00:00:18,418 --> 00:00:21,488
所以，這裡給你個選擇，過了此時此刻

10
00:00:21,488 --> 00:00:22,789
"無法回頭了"

11
00:00:22,922 --> 00:00:24,357
"無法回頭了"

12
00:00:24,457 --> 00:00:25,825
"無法回頭了"

13
00:00:25,892 --> 00:00:27,293
"無法回頭了"

14
00:00:27,394 --> 00:00:28,561
"無法回頭了"

15
00:00:28,628 --> 00:00:29,662
"無法回頭了"

16
00:00:29,796 --> 00:00:31,431
"無法回頭了，懂嗎?"

17
00:00:32,320 --> 00:00:33,333
"我明白"

18
00:00:33,500 --> 00:00:34,901
幾乎每一齣賣座片

19
00:00:34,901 --> 00:00:36,436
或是Telltale 製作的遊戲裡

20
00:00:36,636 --> 00:00:37,804
都會碰到這種狀況：

21
00:00:38,438 --> 00:00:39,472
你的角色面對重要抉擇

22
00:00:39,472 --> 00:00:41,408
而且每個決定都不可逆轉

23
00:00:41,775 --> 00:00:42,809
"啊，這..."

24
00:00:43,109 --> 00:00:44,511
"好了，就你了"

25
00:00:44,711 --> 00:00:46,680
先聲明，我覺得這類時刻很重要

26
00:00:46,680 --> 00:00:48,515
而且是堆砌出好故事的基礎

27
00:00:48,515 --> 00:00:50,984
但是我希望電影不要完全依賴對話來呈現

28
00:00:50,984 --> 00:00:53,530
所以今天來看別的選項：

29
00:00:53,530 --> 00:00:55,488
事實上，這是電影最古老的技巧之一

30
00:00:55,789 --> 00:00:57,824
你要如何展現角色的抉擇?

31
00:01:02,295 --> 00:01:03,563
左邊或右邊?

32
00:01:03,563 --> 00:01:04,763
就這麼簡單

33
00:01:04,998 --> 00:01:06,766
我們常忘了畫面的方向性也是重要的工具

34
00:01:06,766 --> 00:01:09,703
角色的的選擇可以簡單的用他們看的方向來展現

35
00:01:11,971 --> 00:01:13,873
《末日列車》的基礎很簡單

36
00:01:14,740 --> 00:01:15,575
鏡頭的左邊就是火車的後車廂

37
00:01:15,575 --> 00:01:17,430
右邊就是前車廂

38
00:01:17,430 --> 00:01:19,813
過程中我們慢慢的從左往右移動

39
00:01:20,800 --> 00:01:21,581
我們也可以把這片當成一個

40
00:01:21,581 --> 00:01:24,840
主角深信自己必須不斷前進的故事

41
00:01:26,686 --> 00:01:29,589
而所有推進他的動力

42
00:01:29,789 --> 00:01:30,957
都在他後面

43
00:01:30,957 --> 00:01:33,590
"你必須帶領我們"

44
00:01:33,393 --> 00:01:37,630
每一個決定看起來都是稍加變化的方向二選一

45
00:01:37,630 --> 00:01:38,832
但是本片並沒有因此變的簡單

46
00:01:38,832 --> 00:01:40,200
有時他也會倒退

47
00:01:40,200 --> 00:01:42,969
"寇帝斯，我的朋友，你了解我的"

48
00:01:42,969 --> 00:01:45,472
"聽我說，不是我做的!"

49
00:01:48,475 --> 00:01:49,943
當他最後達到旅程的終點

50
00:01:49,943 --> 00:01:52,412
寇帝斯又被另一個人往前推了一把

51
00:01:52,712 --> 00:01:55,682
"我為了這個奉獻一生"

52
00:01:57,217 --> 00:01:58,585
"永動引擎"

53
00:01:58,785 --> 00:02:01,187
為的就是讓他看看身後人類的膚淺

54
00:02:01,521 --> 00:02:03,890
"你可以拯救他們脫離苦海"

55
00:02:04,900 --> 00:02:05,625
給他最終的二選一：

56
00:02:05,625 --> 00:02:07,527
右上方

57
00:02:07,527 --> 00:02:09,696
或是左下方

58
00:02:10,463 --> 00:02:12,232
他決定..

59
00:02:14,267 --> 00:02:14,834
本片最棒的地方在於

60
00:02:14,834 --> 00:02:19,500
導演奉俊昊無需靠對話
就呈現出他抉擇中的道德成長

61
00:02:19,606 --> 00:02:22,542
《末日列車》可能是本年最"側面"的電影了

62
00:02:22,542 --> 00:02:26,746
同時也證明
最簡單的視覺理念可以如此優雅及精緻

63
00:02:27,781 --> 00:02:31,217
所以下次當你角色遇到艱難選擇時...

64
00:02:35,355 --> 00:02:36,189
誰知道?

65
00:02:36,423 --> 00:02:39,225
可能又是個單純的 "左邊或右邊" 呢!

66
00:02:39,225 --> 00:02:50,065
翻譯：zass17