I worked on a film called "Apollo 13," and when I worked on this film, I discovered something about how our brains work, and how our brains work is that, when we're sort of infused with either enthusiasm or awe or fondness or whatever, it changes and alters our perception of things. It changes what we see. It changes what we remember. And as an experiment, because I dauntingly create a task for myself of recreating a Saturn V launch for this particular movie, because I put it out there, I felt a little nervous about it, so I need to do an experiment and bring a group of people like this in a projection room and play this stock footage, and when I played this stock footage, I simply wanted to find out what people remembered, what was memorable about it? What should I actually try to replicate? What should I try to emulate to some degree?
我參與過電影《阿波羅13》的製作 在那過程中,我發現一件事 有關我們大腦的運作 這運作大概是這樣 當我們充滿熱情、敬畏、喜愛等情緒的時候 它會改變我們對事物的看法 改變我們所見、所記憶 而我做過實驗。這是因為我不怕死的 接下打造農神5號火箭升空的任務 必須在電影中出現給觀眾看 我覺得有些緊張,所以必須做個實驗 把一群人找來放映室 並放映這個資料片段,當我這麼做時 我只想知道 人們記得什麼,什麼令人印象深刻 而我應該要打造出什麼樣的東西 哪些部分需要做得栩栩如真
So this is the footage that I was showing everybody. And what I discovered is, because of the nature of the footage and the fact that we're doing this film, there was an emotion that was built into it and our collective memories of what this launch meant to us and all these various things. When I showed it, and I asked, immediately after the screening was over, what they thought of it, what was your memorable shots, they changed them. They were -- had camera moves on them. They had all kinds of things. Shots were combined, and I was just really curious, I mean, what the hell were you looking at just a few minutes ago and how come, how'd you come up with this sort of description? And what I discovered is, what I should do is not actually replicate what they saw, is replicate what they remembered.
所以這是我放給大家看的影片 而我發現,由於這部片的本質 以及我們是為了製作電影而放映 它營造出一種情感 是我們對這場發射的集體記憶 和對我們的意義 及所有其他的事情 當播放完畢後,我立刻問大家 他們的想法是什麼 印象最深刻的畫面,但他們卻改變了影片的內容 他們就像腦中有攝影機 有各種想法,把不同的畫面結合 而我非常好奇,我的意思是 你們不是明明才剛看完這段影片 為什麼,你們怎麼想出現這樣的陳述? 而我發現,我需要做的 並不是直接複製他們看到的畫面 而是他們所記得的部分
So this is our footage of the launch, based on, basically, taking notes, asking people what they thought, and then the combination of all the different shots and all the different things put together created their sort of collective consciousness of what they remembered it looked like, but not what it really looked like. So this is what we created for "Apollo 13."
所以這是我們電影中火箭升空的畫面 根據當時人們的想法 混合各種不同的畫面 和不同的細節以創造 他們集體的感受和記憶 而非模擬實際發生的畫面 這是我們為《阿波羅13》所製作的畫面
(Launch noises)
(發射的聲音)
So literally what you're seeing now is the confluence of a bunch of different people, a bunch of different memories, including my own, of taking a little bit of liberty with the subject matter. I basically shot everything with short lenses, which means that you're very close to the action, but framed it very similarly to the long lens shots which gives you a sense of distance, so I was basically was setting up something that would remind you of something you haven't really quite seen before. (Music) And then I'm going to show you exactly what it is that you were reacting to when you were reacting to it.
所以你眼前所見的,是匯聚不同人 不同的記憶 包括我自己的 並根據主題 加上一點自由創作 我基本上用短鏡頭來拍所有的畫面 也就是你可以很清晰的看到畫面上的動作 但卻讓畫面看起來像是用長鏡頭拍攝的 讓你也有一種距離感 我想創造出一種感覺 提醒觀眾這是前所未見的畫面 (音樂) 等等我要給你看當你在看這段影片時 你實際在看的東西是什麼
(Music)
(音樂)
Tom Hanks: Hello, Houston, this is Odyssey. It's good to see you again. (Cheers) (Music)
湯姆漢克斯:哈囉,休士頓,這是奧德賽 很高興再見到你(歡呼) (音樂)
Rob Legato: I pretend they're clapping for me.
Rob Legato:我假裝他們在為我鼓掌
(Laughter)
(笑聲)
So now I'm in a parking lot. Basically it's a tin can, and I'm basically recreating the launch with fire extinguishers, fire, I have wax that I threw in front of the lens to look like ice, and so basically if you believed any of the stuff that I just showed you, what you were reacting to, what you're emoting to, is something that's a total falsehood, and I found that really kind of fascinating.
我在停車場,用一個錫罐 利用滅火器、火 重新創造這個發射場景 我把蠟丟在鏡頭前,讓它看起來像冰 所以如果你相信我剛給你看的畫面 你所產生的反應及情感 都是根據完全不合實際的假象 這讓我感到十分著迷
And in this particular case, this is the climax of the movie, and, you know, the weight of achieving it was simply take a model, throw it out of a helicopter, and shoot it. And that's simply what I did. That's me shooting, and I'm a fairly mediocre operator, so I got that nice sense of verisimilitude, of a kind of, you know, following the rocket all the way down, and giving that little sort of edge, I was desperately trying to keep it in frame. So then I come up to the next thing. We had a NASA consultant who was actually an astronaut, who was actually on some of the missions, of Apollo 15, and he was there to basically double check my science. And, I guess somebody thought they needed to do that.
這個例子,是電影中最高潮的一幕 要完成這個場景只需要拿一個模型 把它從直升機丟下去,並拍攝 這就是我所做的 這是我,在拍片 我的操作技術很普通 所以我有很精準的擬真效果 跟著火箭一路下來 讓畫面看起來很厲害 我當時只想拚命的讓小艇保持在畫面中 讓畫面看起來很厲害 我當時只想拚命的讓小艇保持在畫面中 接下來我們請了一位NASA諮詢師 他以前也是太空人 出過阿波羅15的太空任務 他在那負責檢查我的科學 而我猜有些人覺得這是必要的
(Laughter)
(笑聲)
I don't know why, but they thought they did.
我也不知道原因,但有些人覺得這很必要
So we were, he's a hero, he's an astronaut, and we're all sort of excited, and, you know, I gave myself the liberty of saying, you know, some of the shots I did didn't really suck that bad. And so maybe, you know, we were feeling kind of a little good about it, so I brought him in here, and he needed to really check and see what we were doing, and basically give us our A plus report card, and so I showed him some shots we were working on, and waiting for the reaction that you hope for, which is what I got. (Music) (Launch noises) So I showed him these two shots, and then he basically told me what he thought.
所以我們跟這個英雄,也是太空人 大家都很興奮,我還覺得 某些畫面我其實拍的還蠻好的 沒那麼差 也許,我們有點太過自我感覺良好 所以我們把他帶來 而他必須看看我們所做的事 然後幫我們打個優等的分數 所以我給他看一些我們正在製作的畫面 並等他用我們所希望的方式來回應 他也的確這麼做 (音樂、升空的聲音) 所以我給他看這兩段畫面 而他告訴我他的想法
("That's wrong") (Laughter)
「這是錯的」(笑聲)
Okay. (Laughter) It's what you dream about.
好吧(笑聲) 這是你夢寐以求的
(Laughter)
(笑聲)
So what I got from him is, he turned to me and said, "You would never, ever design a rocket like that. You would never have a rocket go up while the gantry arms are going out. Can you imagine the tragedy that could possibly happen with that? You would never, ever design a rocket like that." And he was looking at me. It's like, Yeah, I don't know if you noticed, but I'm the guy out in the parking lot recreating one of America's finest moments with fire extinguishers.
這是他的回應,他轉頭告訴我 你根本不可能這樣設計火箭 根本不可能火箭一邊升空 支撐架一邊脫落 你能想像這樣會發生什麼樣的悲劇嗎? 你根本不可能這樣設計火箭 他看著我,而我想 你難道沒發現,我就是在停車場 用滅火器創造美國最美的電影畫面之一 的那位老兄啊 用滅火器創造美國最美的電影畫面之一 的那位老兄啊
(Laughter)
(笑聲)
And I'm not going to argue with you. You're an astronaut, a hero, and I'm from New Jersey, so --
而我也不會跟你爭辯 你是太空人 是英雄,而我是紐澤西人......
(Laughter)
(笑聲)
I'm just going to show you some footage. I'm just going to show you some footage, and tell me what you think. And then I did kind of get the reaction I was hoping for.
我說那我接下來給你看一些影片 並請你告訴我你的想法 而我最後也得到我想要的回應
So I showed him this, and this is actual footage that he was on. This is Apollo 15. This was his mission. So I showed him this, and the reaction I got was interesting.
所以我再給他看的影片 是他出任務升空時 實際狀況的影片,阿波羅15 所以我給他看這個,而他的反應很有趣
("That's wrong too.") (Laughter)
「這也是錯的」(笑聲)
So, and what happened was, I mean, what I sort of intuned in that is that he remembered it differently. He remembered that was a perfectly safe sort of gantry system, perfectly safe rocket launch, because he's sitting in a rocket that has, like, a hundred thousand pounds of thrust, built by the lowest bidder. He was hoping it was going to work out okay.
所以這個狀況就是,我想 他的記憶與實際狀況不同 他記得支撐架系統是完美並安全的 能讓火箭安全升空,因為他坐在一個 有上千磅的推進力 由最標價最低的廠商製作的火箭中 他只希望能一切運作順利
(Laughter) (Applause)
(笑聲、鼓掌)
So he twisted his memory around.
所以他改變他的記憶
Now, Ron Howard ran into Buzz Aldrin, who was not on the movie, so he had no idea that we were faking any of this footage, and he just responded as he would respond, and I'll run this.
後來朗霍華(導演)碰到 Buzz Aldrin(前太空人) 他沒有參與製片,所以不知道這些片段是假的 而他的反應很自然 我播給你看
Ron Howard: Buzz Aldrin came up to me and said, "Hey, that launch footage, I saw some shots I'd never seen before. Did you guys, what vault did you find that stuff in?" And I said, "Well, no vault, Buzz, we generated all that from scratch."
朗霍華:Buzz Aldrin 向我走來 並說:"那個發射的影片,我看到一些從未看過的畫面 你們是從什麼資料庫取得這些影片的?" 並說:"那個發射的影片,我看到一些從未看過的畫面 你們是從什麼資料庫取得這些影片的?" 而我說:"Buzz,不是從資料庫 我們是重頭做起的呀。"
And he said, "Huh, that's pretty good. Can we use it?"
而他說:"看起來很不錯,我們可以使用嗎"
(Explosion) ("Sure") (Laughter)
(爆炸聲)「當然」 (笑聲)
RL: I think he's a great American.
我覺得他是個很棒的美國人
(Laughter)
(笑聲)
So, "Titanic" was, if you don't know the story, doesn't end well.
電影《鐵達尼號》,如果你不知道這個故事 它的結尾不太好
(Laughter)
(笑聲)
Jim Cameron actually photographed the real Titanic. So he basically set up, or basically shattered the suspension of disbelief, because what he photographed was the real thing, a Mir sub going down, or actually two Mir subs going down to the real wreck, and he created this very haunting footage. It's really beautiful, and it conjures up all these various different emotions, but he couldn't photograph everything, and to tell the story, I had to fill in the gaps, which is now rather daunting, because now I have to recreate back to back what really happened and I had, I'm the only one who could really blow it at that point.
詹姆斯卡麥隆(導演)事實上拍過真的鐵達尼號 所以他創造了,或基本上是粉碎 人們對他的懷疑,因為他拍的是真的船 一艘潛艇到海裡,事實上是兩艘 往海底找到真正的船墟 創造出美得不可思議的片段 真的很美,喚起各種不同的感覺 但他沒辦法拍下所有的東西 而為了電影劇情 我必須填補其中空白,現在聽起來很恐怖 因為我必須創造出 能與這畫面水準相當的影片 而我是唯一可能毀掉這件事的人
So this is the footage he photographed, and it was pretty moving and pretty awe-inspiring. So I'm going to just let it run, so you kind of absorb this sort of thing, and I'll describe my sort of reactions when I was looking at it for the very first time. I got the feeling that my brain wanted to basically see it come back to life. I automatically wanted to see this ship, this magnificent ship, basically in all its glory, and conversely, I wanted to see it not in all its glory, basically go back to what it looks like.
所以這是導演拍的畫面 很動人並且令人嘆為觀止 所以我繼續讓你們看下去 讓你吸收並感受到這股氛圍 我第一次看到這段影片的時候 我的反應是這樣 我覺得我的腦基本上 希望這艘船能重現當時情景 我很自動地想要看到這艘船 無與倫比的輪船 在它最榮耀輝煌的時刻 然後我又想看到它回到沉船的樣子 希望畫面回到現在的樣子
So I conjured up an effect that I'm later going to show you what I tried to do, which is kind of the heart of the movie, for me, and so that's why I wanted to do the movie, that's why I wanted to create the sort of things I created.
所以我創造出等下我會給你們看的這個效果 我嘗試做的,是這部電影的核心 對我而言,這也是為什麼我想拍電影 為什麼我想要創造出我所創造的畫面
And I'll show you, you know, another thing that I found interesting is what we really were emoting to when you take a look at it. So here's the behind the scenes, a couple of little shots here. So, when you saw my footage, you were seeing this: basically, a bunch of guys flipping a ship upside down, and the little Mir subs are actually about the size of small footballs, and shot in smoke. Jim went three miles went down, and I went about three miles away from the studio and photographed this in a garage.
另一件我覺得很有趣的事 也就是我們看一個畫面受到感動時 到底看到的是什麼 這是幕後花絮,有幾個場景 當你看我的影片 你看到的是:一群男生 把一艘船翻過來,而小潛水艇的尺寸 大約跟小橄欖球一樣大 並且在煙霧中拍攝 詹姆斯到海平面下三英里處拍攝 而我則到攝影棚三英哩外拍攝 並在車庫裡拍
And so, but what you're emoting to, or what you're looking at, had the same feeling, the same haunting quality, that Jim's footage had, so I found it so fascinating that our brains sort of, once you believe something's real, you transfer everything that you feel about it, this quality you have, and it's totally artificial. It's totally make-believe, yet it's not to you, and I found that that was a very interesting thing to explore and use, and it caused me to create the next effect that I'll show you, which is this sort of magic transition, and all I was really attempting to do is basically have the audience cue the effect, so it became a seamless experience for them, that I wasn't showing you my sort of interpretation, I was showing you what you wanted to see. And the very next shot, right after this -- So you can see what I was doing.
所以你們的感受,或你們正在看的 其實感受都相同,畫面都同樣有動人的好品質 就像詹姆斯拍的畫面一樣,我覺得很不可思議 因為我們的腦,一旦你相信什麼是真的 你就會改變一切去感受那種氛圍 你有這種能力 即使畫面都是人工的 都是造假的 但你並不這麼覺得 我覺得這點很有趣 值得繼續探討和使用 所以使我想創造 我接下來要給你看的片段 是種很奇妙的改變 而我想要做的是希望 觀眾主動去下效果出現的指令 所以對他們而言這畫面接得毫無縫隙 而我不是給你們看我對這段畫面的詮釋 而是給你們看 你們想看到的畫面 緊接著這個畫面之後...... 你可以知道我在做的
So basically, if there's two subs in the same shot, I shot it, because where's the camera coming from? And when Jim shot it, it was only one sub, because he was photographing from the other, and I don't remember if I did this or Jim did this. I'll give it to Jim, because he could use the pat on the back.
基本上如果在同一個畫面中有兩艘潛艇 就是我拍的,不然攝影機要從哪來 當詹姆斯拍的時候 只有一艘潛艇 因為他在另一艘拍攝這一艘 而我不記得這畫面是我拍的 還是詹姆斯 我們說是詹姆斯拍的好了 他需要被鼓勵
(Laughter)
(笑聲)
Okay. So now the Titanic transition. So this is what I was referring to where I wanted to basically magically transplant from one state of the Titanic to the other. So I'll just play the shot once. (Music)
所以這就是《鐵達尼號》畫面的轉變 基本上我想說的是 我想要神奇地將鐵達尼 從一種狀態轉變為另一種 我把這畫面播一次(音樂)
(Music)
(音樂)
And what I was hoping for is that it just melts in front of you.
而我希望這畫面在你面前融出
Gloria Stuart: That was the last time Titanic ever saw daylight.
「這是鐵達尼號最後一次見到日光」
RL: So, what I did is basically I had another screening room experience where I was basically tracking where I was looking, or where we were looking, and of course you're looking at the two people on the bow of the ship, and then at some point, I'm changing the periphery of the shot, I'm changing, it's becoming the rusted wreck, and then I would run it every day, and then I would find exactly the moment that I stopped looking at them and start noticing the rest of it, and the moment my eye shifted, we just marked it to the frame. The moment my eye shifted, I immediately started to change them, so now somehow you missed where it started and where it stopped. And so I'll just show it one more time. (Music) And it's literally done by using what our brains naturally do for us, which is, as soon as you shift your attention, something changes, and then I left the little scarf going, because it really wanted to be a ghostly shot, really wanted to feel like they were still on the wreck, essentially. That's where they were buried forever.
這是我在放映室的另一個經驗 當我在追蹤我在看的目標 或我們在看的地方 當然你們在看站在船首的兩人 但接著 我開始改變畫面的內容 讓它改變成腐鏽船骸 然後我每天播放 直到發現在哪個時間點 我會停止看著這兩人 而開始注意畫面其他的地方 當視線改變時,我就在這時間點做上記號 當我的視線移動,我馬上改變畫面 所以你會忘了 它什麼時候開始和結束 我再播一遍 (音樂)這畫面事實上是在利用我們大腦 自然的運作方式 當你改變你的注意力 畫面就改變了,我讓絲巾的影像繼續留著 因為因為我希望它有點像殘留鬼影 像是他們仍然在船骸上 是他們兩人永遠埋葬的地方
Or something like that. I just made that up.
或之類的,這是我瞎掰的
(Laughter)
(笑聲)
It was, incidentally, the last time I ever saw daylight. It was a long film to work on. (Laughter)
而這剛好也是我最後一次看到日光 這部電影的工作時間實在太長了(笑聲)
Now, "Hugo" was another interesting movie, because the movie itself is about film illusions. It's about how our brain is tricked into seeing a persistence of vision that creates a motion picture, and one of the things I had to do is, we — Sasha Baron Cohen is a very clever, very smart guy, comedian, wanted to basically do an homage to the kind of the Buster Keaton sort of slapstick things, and he wanted his leg brace to get caught on a moving train. Very dangerous, very impossible to do, and particularly on our stage, because there literally is no way to actually move this train, because it fits so snugly into our set.
《雨果的冒險》是另一部有趣的電影 因為這部電影是有關電影的幻象 關於電影的產生是利用視覺殘留 欺騙我們的腦 而其中一件我必須做的事是 薩夏拜倫柯恩是一位很聰明的喜劇演員 他想要對巴斯特·基頓(演員)致敬 尤其是基頓的鬧劇之類 薩夏希望他的腳被卡在移動的火車上 非常危險、不可能做到 又特別是在我們的攝影棚 因為根本沒有辦法讓火車移動 火車是被牢牢固定在佈景中
So let me show you the scene, and then I basically used the trick that was identified by Sergei Eisenstein, which is, if you have a camera that's moving with a moving object, what is not moving appears to be moving, and what is moving appears to be stopped, so what you're actually seeing now is the train is not moving at all, and what is actually moving is the floor.
讓我放這段影片給你們看 我是用Sergei Eisenstein(俄國導演)發明的方式 當你的攝影機和移動的物體一起移動 不動的物體看起來就像在移動 而移動的物體看起來是靜止的 所以你看到的火車其實完全沒有動 真正移動的是地板
So this is the shot. That's a little video of what you're looking at there, which is our little test, so that's actually what you're seeing, and I thought it was sort of an interesting thing, because it was, part of the homage of the movie itself is coming up with this sort of genius trick which I can't take credit for. I'd love to but I can't, because it was invented like in 1910 or something like that, is I told Marty, and it's kind of one of those mind things that it's really hard to really get until you actually see it work, and I said, you know, what I was going to do, and he said, "So, let me see if I can get this straight. The thing with the wheels? That doesn't move."
所以就是這一幕 螢幕左下角短片是我們的小測試 這才是真正發生的樣子 我覺得這很有趣 因為這部電影要致敬的典範中 就包括這樣的天才技術,不能歸功於我 雖然我很想居功但不行 因為這是在1910年左右所發明的 我告訴馬丁史柯西斯(本片導演) 這很難解釋 除非你真正看到它運作的樣子 我告訴他我要做什麼,他說(學馬丁說話): 「讓我看看我有沒有搞懂 有輪子的東西 它不會動?」
(Laughter) (Applause)
(笑聲)(掌聲)
"And the thing without the wheels, that moves."
「而沒有輪子的東西,它會動」
Precisely. (Laughter)
沒錯(笑聲)
Brings me to the next, and final --
這讓我們來到下一點,也就是最後
Marty's not going to see this, is he? (Laughter) This isn't viewed outside of -- (Laughter)
馬丁不會看到這個吧,會嗎?(笑聲) 這沒有被錄下來讓人觀賞吧(笑聲)
The next illustration is something that, there's like all one shot theory. It's a very elegant way of telling a story, especially if you're following somebody on a journey, and that journey basically tells something about their personality in a very concise way, and what we wanted to do based on the shot in "Goodfellas," which is one of the great shots ever, a Martin Scorsese film, of basically following Henry Hill through what it feels like to be a gangster walk going through the Copacabana and being treated in a special way. He was the master of his universe, and we wanted Hugo to feel the same way, so we created this shot.
下一個幻象是一鏡到底 是電影敘事很優雅的方式 特別是你跟著某個人物踏上旅程 而那段旅程簡潔地透露 該人物的性格 而我們試著根據《四海好傢伙》的一幕拍攝 是影史上最精彩的一幕之一 也是馬丁導的電影,跟著Henry Hill(主角) 感受一個黑幫老大是如何在 Copacabana夜總會穿梭,並受到特別待遇 他就像宇宙的主宰 我們也希望《雨果的冒險》 有那樣的感覺,所以拍了這一幕
(Music) That's Hugo. (Music) And we felt that if we could basically move the camera with him, we would feel what it feels like to be this boy who is basically the master of his universe, and his universe is, you know, behind the scenes in the bowels of this particular train station that only he can actually navigate through and do it this way, and we had to make it feel that this is his normal, everyday sort of life, so the idea of doing it as one shot was very important, and of course, in shooting in 3D, which is basically it's a huge camera that's hanging off of a giant stick, so to recreate a steadycam shot was the task, and make it feel kind of like what the reaction you got when you saw the "Goodfellas" shot.
(音樂) 他就是雨果(音樂) 我們認為如果可以讓攝影機跟著他移動 我們會覺得這男孩 很像是他自己世界的主宰 而他的世界就是遠離人群 在這火車站的深處 只有他能夠如此穿梭 而我們必須讓這一幕顯出 這對男孩是件稀鬆平常的每日生活 所以必須能一鏡到底是非常重要的 而3D攝影就像是把巨大的攝影機 掛在巨大的竿子上 所以要讓它看起來 不像手持攝影很困難 又要讓它展現出《四海好傢伙》 那樣的效果
So what you're now going to see is how we actually did it. It's actually five separate sets shot at five different times with two different boys. The one on the left is where the shot ends, and the shot on the right is where it takes over, and now we switch boys, so it went from Asa Butterfield, who's the star of the show, to his stand-in. (Music) I wouldn't say his stunt double. There's a crazy rig that we built for this. (Music) And so this is, and now this is set number three we're into, and then we're going to go into, basically the very last moment of the shot is actually the steadycam shot. Everything else was shot on cranes and various things like that, and it literally was done over five different sets, two different boys, different times, and it all had to feel like it was all one shot, and what was sort of great for me was it was probably the best-reviewed shot I've ever worked on, and, you know, I was kind of proud of it when I was done, which is, you should never really be proud of stuff, I guess.
所以你現在看到的 是我們實際拍攝的樣子 其實是5個場景,分5次拍攝 用2位不同的男孩 左邊是鏡頭結束的地方 右邊是另一鏡接下去的地方 現在我們換了男孩,從Asa Butterfield 本片的男童星,到他的代替人 (音樂) 我不想說是特技替身 這是我們為了本片蓋的溜滑梯 (音樂) 現在我們要進入第三場景 這一景的最後一幕 是由攝影穩定架拍攝的 其他都是用升降鏡頭或其他方式拍的 這真的是在5個不同的場景 2個男孩、在不同的時間拍的 卻要讓人覺得是一鏡到底 而對我而言最棒的可能是 這是我拍過最受好評的一幕 當它拍好時我很自豪 但我猜,你其實不該為某事而驕傲
So I was kind of proud of it, and I went to a friend of mine, and said, "You know, this is, you know, kind of the best-reviewed shot I've ever worked on. What do you think was the reason?"
但我真的蠻驕傲的,我去找我朋友 並說:「你知道嗎,這是我所拍過 最受好評的一幕 你覺得原因是什麼?」
And he said, "Because no one knows you had anything to do with it."
而他說:「因為沒有人知道 你跟這一幕有任何關係。」
(Laughter)
(笑聲)
So, all I can say is, thank you, and that's my presentation for you. (Applause)
所以我只能說聲,謝謝 以上是我今天給各位的報告(掌聲)
(Applause)
(掌聲)