The First World War starts with literally horses and carriages and ends with tanks. So, it's the moment where modern war you could argue begins. From the very beginning, I felt this movie should be told in real time. Every step of the journey, breathing every breath with these men, felt integral. And there is no better way to tell this story than with one continuous shot.
第一次世界大戰最初以馬車交戰，最終出動坦克。這個時期可說是現代戰爭的開端。打從一開始，我就覺得這部電影的拍攝手法應該採用順序法。這些人在旅程中的每個腳步、每次喘息，都非常重要。而我認為要拍好這部影片，就得採用一鏡到底的手法。
Three, two, one. Go! Go!
三、二、一。快!快!
From the first moment I'm talked to Sam about the idea as a one-shot movie, I knew it was gonna be really immersive.
我第一次和 Sam 討論一鏡到底的想法時，我就知道畫面能讓人身歷其境。
It's meant to make you feel that you are in the trenches with these characters.
就是要讓你覺得你與這些角色一同在壕溝中掙扎。
The film in itself is a slice of time.
這部電影是一戰時期的縮影。
These two young men get sent on a mission to deliver a message to stop an attack.
這兩個青年肩負任務，要傳達阻止攻擊的口信。
Action!
Action!
So, they've got to cross into enemy territory on a race against time to deliver a message that will save 1,600 lives.
所以他們要穿越敵人的領土，與時間賽跑，傳達這個能拯救一千六百條人命的口信。
And the camera never ever comes away from the two characters.
拍攝鏡頭從頭到尾都緊緊跟著這兩個角色。
There's always that sort of get-out-of-jail card that you have with a movie. Well, you know, we might be able to cut around this, or we must take that scene out. That's not possible on this film. The dance of the camera and the mechanics all have to be in sync with what the actors are doing. When you achieve that, it's really beautiful and exhilarating.
其實拍電影的時候，都有些可以彌補不足之處的小技巧。你可以剪掉不好的地方，或是直接把整幕剪掉。但這些技巧在這部電影中根本派不上用場。鏡頭和器材必須和演員同步移動。如果能達成的話，就會看起來非常完美及震撼。
Sometimes you have a camera being carried by an operator, hooked onto a wire, and the wire carries it across more land. And it's unhooked again, that operator runs with it then steps onto a small jeep, which carries him another 400 yards, and he steps off it again and goes around the corner.
有時候攝影師要拿著攝影機，讓攝影機吊在繩索上，橫越整片土地。接著攝影師將攝影機取下，扛著攝影機狂奔，然後跳上小吉普車，往前開四百碼，接著跳下車，繞過下一個轉角。
Let's get back to one.
我們再拍一次第一幕。
This film does not take place in a series of interiors. This is endless exteriors. No location ever repeats, so you're constantly moving through landscapes.
這部電影不是在一連串的室內場景拍的。全部都是外景。一樣的場景不會出現第二次，所以你會跟著鏡頭看到不斷變換的景緻。
Being such a exterior movie, we're very dependent on the light and the weather. And we kind of realized well for a start that you can't really light it...
因為這是一部外景電影，我們非常依賴光線和天氣。打從一開始我們就知道，我們沒辦法打光...
Action.
Action。
...because, you know, if you were running down a trench and turning around 360 degrees, there's nowhere to put a light anywhere. And because we were shooting in story order, we have to shoot in cloud to get the continuity from scene to scene. So, some mornings, the sun would be out, and we couldn't shoot. So we would rehearse.
...因為，如果你在壕溝中奔跑，接著來個 360 度大迴轉，根本沒地方放補光燈。因為我們是用順序法拍攝，為了讓每幕戲都連戲，我們得在陰天拍攝。有時候早上會出太陽，我們就沒辦法拍攝。這時候我們就會排練。
And we're rehearsing.
現在開始排練。
And then we'd be waiting around, everyone with their eyes up in the sky trynna see how long it'd take for the sun to move behind the cloud.
我們會等待，每個人的眼睛都盯著天空，想著不知道要等待多久才會變成陰天。
And as soon as it comes over, you got this five-minute window. Everyone would be like, "Come on! Go, go, go!"
太陽一躲進雲層背後，有了五分鐘的空間。每個人都會大喊：「快點!快、快、快!」
Go! Go! Go!
快!快!快!
So, you are also in the lap of the gods.
這全看老天爺的臉色。
It was like a piece of theater every take. Once it starts, it can't stop. If something goes wrong, you just have to keep going.
每一個場景都像是舞台劇。一開拍就沒辦法喊卡。就算出錯還是要繼續拍下去。
Until you actually see it on the screen, you don't really realize how immersive it is and how that technique kind of draws you into it.
如果你沒親眼在大銀幕上看過，你不會知道整個畫面會有多壯闊、多身臨其境、多吸引人。
For me, engagement is very important. And that is behind the way in which we decided to shoot this film. I wanted people to understand how difficult it was for these men, and the nature of that is behind everything.
對我來說，觀眾的投入感非常重要。這也是為什麼我們採用這種手法。我們想要大家了解這些人的處境有多艱難，而這也是這部電影背後所要傳達的訊息。
1917
1917
- 「全靠運氣、碰運氣、聽天由命」- in the lap of the gods
So, you are also in the lap of the gods.
這全看老天爺的臉色。
