睡不著

22:30-2:30，等待睡意來襲的四小時間，重讀完Sidney Lumet《Making Movies》談剪接的那一章（至今只看過一部他的電影《Dog Day Afternoon》，但這真是本好書），爬起來寫了幾個字，挖了一兩封信出來看，隨即意識到這不啻是自殺行為，趕緊打住，沖了個澡，自我說服閉目可以養神。

試著回答自己為甚麼又開始感傷：

• 與其焦慮，不如感傷。
• 週末只看電影沒做正事過太爽了。
• 快滿一年了。
• 白天看的電影，夜晚在潛意識發酵。安妮華達的《幸福》根本是恐怖片，縱然色彩如此明亮繽紛；《珈琲時光》淡淡的，但當晚就夢到自己搭火車要去法蘭克福，但是坐過站。（為甚麼是法蘭克福呢？）

無論如何，書摘如下順便練習翻譯：

• In my view, only three people know how good or bad the editing was: the editor, the director, the cameraman. They are the only ones who knows everything that was shot in the first place.（我想只有三個人可以說一部片剪得好還是不好：剪接師、導演、攝影師。唯有他們清楚當初到底拍了哪些東西。）
• To me, there are two main elements to editing: juxtapositioning images and creating tempo.（對我來說，剪接功能有二：並置畫面生產意義，及創造節奏。）
• When I placed the camera in its position originally, I asked myself the question: What do I want to see at this moment in the script and why? Now, in the cutting room, I ask myself the same question. It's easy to find a reason to cut from him to her. In fact, with good performance, sometimes it's painful not to see both of them together, full face, at a particular moment. So depending on what tempo the scene needs in relation to the picture as a whole, I can cut back and forth as much or as little as I want to.（當我決定鏡位時，我總是問自己這個問題：在劇本的這個節骨眼，我想看到什麼／為什麼？現在，在剪接室，我問自己相同的問題。要找理由從男主角的畫面剪到女主角很簡單，事實上，如果表演夠好的話，有時甚至很難割捨而想同時看到兩個人的表情。所以，根據一場戲在整部片子裡該要有的節奏，我可以決定這場戲要剪多碎，或盡量不剪碎。）