英国新闻听力 最佳摄影（在线收听）

第八十届奥斯卡金像奖的，我们再重温一下当天的情况。由于好莱坞的编剧罢工，奥斯卡颁奖礼几乎要被迫取消。

[注释]

1.cinematography n. 电影摄影学 2.resolve vt. 解决 3.autograph adj. 署名 4.atonement n. 赎罪，弥补 5.collaborative adj. 协作的，合作的 6.photography n. 摄影，摄影术 7.apocalypse n. 启示，天启 8.assassination n. 暗杀 9.unassuming adj. 谦逊的，不装腔作势的 10.spontaneous adj. 自然产生的，无拘束的 11.quote vt. 引用，引证 12.location n. <美>[电影]外景拍摄场地

[积少成多]

be responsible for 为……负责；形成……的原因

例句1：We should be responsible for the generation as yet unborn.

我们应该对下一代负责。

例句2：Cigarette smoking is responsible for about 90% of deaths from lung cancer.

因患肺癌而死亡者，约90%是吸烟所致。

Best Cinematography

RAGEN DETER: Hello, and welcome to on the screen with me, Ragen Deter. This week's on screen is dedicated to the eightieth Academy Awards better knows as the Oscar which, yes, really will take place this Sunday we are relive in format. So thanks to the Hollywood's writers strike, the Oscars almost didn't happen. But with the dispute resolved not only can TV cult hit like Aggely Betty and Loist and feature film resume production, but this week all lives all turned to the biggest event in the film calendar. Much to the relief of the film industry.

MAN: They are looking like the Oscar hopefully as this moment we can all come back together again and it really would be a sign presto really man fancies very quickly.

RAGEN DETER: So expectedly usual Hollywood glamour and fun fairy on Sunday. The red carpet would be graced by stars like Geoge Clooney, Cate Blanchett, Jonney Deep, Tommy Lee Jones, Jolie Christie who are all nominated. While others like Tom Hanks, Harison Ford, Nicole Kidman, and Denzel Washington would be there but have to settle this careful stage autograph signing.

(MUSIC)

Films up for one or more Oscars include the Coen brothers' thriller No Country For Old Man, the best winner Atonement, the teen pregnancy surprise hit Juno and Paul Thomas Anderson' epic There Will Be Blood, some real heavyweights there I think you'll agree.

(MUSIC)

Now film is a collaborative medium you only have to look at the long list of Oscar's category twenty-four of them. And hundreds more people are involved in the making of the film behind the scene. The Cinematography or director of photography D.O.P in short is one of them. He or she is at the center of the film process. Essentially they are responsible for the look of the movie. Working in collaboration with the director, the D.O.P were determining the composition of each frame and the overall feel and tone of the film. But very few a hassle names. They turn to work in the shadow of the directors.

(MUSIC)

There are a few notably exceptions like the Italian, Vittorio Storaro, who won three Oscars for his welcome classics, such as Apocalypse Now, The Last Emperor And Reds. And British D.O.P. Roger Deakins who's been nominated five times in the past including for The Shawshank Redemption. This year Deakins has become the first Cinematography since 1971 to be nominated in the same year for two different movies, the latest Coen's operas, No Country For Old Men.

MAN A: let me asked you something, if the rule you followed brought you to this, of what use was the rule?

MAN B: Do you have any idea, how crazy you are!

MAN A: You mean the nature of this composition?

MAN B: I mean the nature of you.

And for the Brad Pitt, near Western, The Assassination Of Jesse James By The Coward Robert Ford.

BRAD PITT: You give me signs make me wonder. Maybe you minds change about me. Case you out, you won't be like me, and you won't be me.

It's probably for the association with the ground breaking Coen brothers that Roger Deakins is most celebrated. He shot all their films including Fargo and The Man Who Wasn't There since 1991. But his credits also number Dead Man Walking, A Beautiful Mind and In the Valley of Elah from the director Paul Haggis to know just a few. When I met this very unassuming and modest Cinematography, I first asked what was the reaction was when he learnt he was nominated for two Oscars.

ROGER DEAKINS: I was blown away really I mean, I, I, though I had a chance to get the nomination for No Country because the film is getting a lot of claim. But I'm also pleased to get nominate for Jesse James as well.

RAGEN DETER: If you had to contrast for instance, the approach of Paul Anderson and the approach of Joel Ethan, how are they different?

ROGER DEAKINS: Well I see, working with Joel Ethan is if you lot of prep and the whole film is storable. There's enormous amount of presoak. And they work with very tight budgets and they don't show a lot of stock. Things can change on the day but pays you have sort of plan about when you stop shooting. With Paul, it's much more spontaneous on the day. We will, you know, it's a way most people do actually, coming in the morning, you've has the actors on the sight and work out how you can shot it and discuss camera angles, discuss how you're going to make that work during the day and discuss on their another way. It's more spontaneous I suppose in the way.

RAGEN DETER: For instance, In the Valley of Elah, the Coen brother's film. They're very different but they has one thing that I think make some similar it's the way that you approach the human face. Now I've really quoted of yours, you said the great lesson you have learnt it's the notion that if you can film the human face you can photograph anything. They do dominate quite often your pictures don't they? I mean if you look at people like Tommy Lee Jones, Emma Benton and Billy Bob Thornton for instance those characters. They are quite tested characters or three of those in many ways, and you make them somehow express themselves.

ROGER DEAKINS: When you prepare film it's much more sort of you are looking at the technical challenges. You are looking at they are make locations, how you are going to shoot that among the world that day in the movie, where you want to be on some time for this a lot of line. You know, it's a whole kind of study of logistic if you like, in a way that's all background to free you to be on the site, to actually be there with the camera look Tommy, or look Billy Bob Thornton to those. And then that's where you are really happens. It's just something happens when you are there with cameras, when you're just looking, when you're using your eyes, when you just a kind of playing with a line, and there just it's banister some much more spontaneous for me anyway, it's not something that I could sort of interaction so even make sense of.

最佳摄影

拉根·蒂特：大家好，欢迎收听《银幕内外》节目，我是主持人拉根·蒂特。本周的《银幕内外》节目是关于这周日举办的第八十届奥斯卡金像奖的，我们再重温一下当天的情况。由于好莱坞的编剧罢工，奥斯卡颁奖礼几乎要被迫取消。随着谈判解决，不仅热门电视节目像Aggely Betty和Loist以及电影大片恢复生产，而且本周各界人士都转向这个最大的电影盛会。这对电影界也是一种欣慰。

男士：这个时候他们觉得奥斯卡又有希望了，我们又能回来聚到一起了，这真是个可以使人们迅速投入到对奥斯卡的憧憬中的信号啊。

拉根·蒂特：因此像预料的一样，在周日照常闪耀了好莱坞的魅力。步入红地毯的大牌影星有像乔治·克鲁尼、凯特·布兰切特、约翰尼·德普、汤米·李·琼斯和茱蒂·克里斯蒂，他们都获得了提名。同时其他影星像汤姆·汉克斯、哈里森·福特、尼科尔·基德曼和丹泽尔·华盛顿也会出席，但要解决这个审慎阶段的签署仪式。

（音乐）

获得奥斯卡的获奖影片包括科恩兄弟的《老无所依》、最佳配乐奖《赎罪》、关于少女意外怀孕的影片《朱诺》以及保罗·托马斯·安德森导演的《血色将至》，我认为都是重量级的影片。

（音乐）

现在电影是一个协作的媒介，你仅能看到其中的24个奥斯卡奖项。实际上幕后参与拍摄电影的有成百上千的人。电影摄影学或者摄影指导就是其中之一。他或者她是电影拍摄过程的核心。实际上他们对电影的视觉效果负责。和导演通力合作，摄影指导们决定每个镜头的组成、整体的感觉和整部电影的语调风格。但是很少人的名字会被看到。他们只是默默地支持着导演的工作。

（音乐）

但还是有少数例外，像意大利电影摄影大师维托里奥·斯托拉罗，他曾三次成为奥斯卡最佳摄影奖的获得者，例如《现代启示录》、《末代皇帝》和《赤色分子》。英国的摄影师罗杰·迪根斯在以前曾五次被提名，包括为《肖申克的救赎》的拍摄。今年是迪根斯自1971年以来首次被提名为最佳摄影，而且在同一年有两部不同的电影被提名，有科恩兄弟的最新影片《老无所依》。

男士A：我想问你件事，如果是你遵循的规则带给你这些，这个规则有什么用处？

男士B：你知道吗，你让我多么着迷！

男士A：你的意思是这个组成的性质？

男士B：我的意思是你本人的品质。

另一项被提名的影片是布拉德·皮特主演的《刺杀神枪侠》。

布拉德·皮特：你所说的让我很吃惊。可能你对我的看法已经改变了。如果是你，你不会像我一样，而且你不会是我。

可能这次盛会除了科恩兄弟以外，罗杰·迪根斯是最值得庆祝的。自从1991年以来，他参与拍摄更多的电影包括《冰血暴》和《缺席的人》。他还参与拍摄《死囚上路》、《美丽心灵》和保罗·哈吉斯导演的《决战以拉谷》等等。当我遇到这位谦逊的摄影师时，我首先想问的是当他得知他获得两个奥斯卡提名奖时，他的反应是什么？

罗杰·迪根斯：实际上，我被震撼了，我的意思是，我想我可能有因为《老无所依》而被提名的机会，因为许多人断言如此。但是我也很高兴因《刺杀神枪侠》而获提名。

拉根·蒂特：如果你不得不对比保罗·安德森和乔尔·柯恩的方法，他们有什么不同？

罗杰·迪根斯：和乔尔·柯恩工作，如果你准备很多，整部电影是可容纳的。他们有大量的工作要做。他们的工作预算很紧，也不会有很多账目。在一天中，事情可能随时变化，但是当你停止拍摄，你需要有一个针对这种情况的计划。和保罗工作，在一天当中要自然的多。我们会像大部分人那样在早上过来，你要让演员们在现场，看你怎样拍摄，还要讨论拍摄的角度，讨论你怎样在当天拍摄，讨论用其它方法拍摄。我想这些更多是出于自愿。

拉根·蒂特：例如，《决战以拉谷》和柯恩兄弟的电影。它们是很不同的，但是在一件事情上我又认为有很多相似之处，就是人们面部表情的表现方法。现在我引用你的话，你说你学到的最重要的课程是"如果你能拍摄人们的面部表情，你就能拍摄一切"这个概念。它们确实支配着你拍摄的影片，不是吗？如果你考虑像汤米·里·琼斯、艾玛·本顿、比利·鲍伯·松顿这样的人物。他们是饱经考验的人物或者在许多方面是其中的三个，你能让他们以某种方式表现他们自己。

罗杰·迪根斯：当你准备拍摄时，更多是要看你技术上的挑战。你看他们正在外景拍摄，你怎样才能在那天的电影世界里拍摄他们，这么多的路线你要在哪儿拍。你知道，如果你喜欢，整体上这是一种逻辑的研究，某种程度上说这是整个让你在现场释放的背景，然后再拍摄汤米·里·琼斯，或者比利·鲍伯·松顿。接着就是让你真正发挥的了。当你在那里拍摄时，当你只是在注视时，当你用你的眼睛时，当你使用路线时，一些事发生了，那就是让我无论如何让一切变的更自然，它不是某种互动，因此要让它有意义。