[keyboard clacking]
[敲键盘声]
[Michael] Hi, I’m Michael.
你好 我是Michael
This is “Lessons from the Screenplay”.
这里是《剧本分析》
[keyboard clacking]
[敲键盘声]
Christopher Nolan films have an amazing sense of momentum.
克里斯托弗·诺兰的电影有一种惊人的连贯性
Whether it’s Batman racing to save Gotham,
无论是蝙蝠侠为拯救哥谭市而战
the evacuation of Dunkirk,
还是敦刻尔克大撤退
or a set up for the ultimate magic trick.
或者是终极魔术的一次布局
Are you watching closely?
你在仔细看吗?
[Michael] Nolan’s use of cross-cutting between various story threads
诺兰在不同的故事线之间运用交叉剪辑
can create suspense
可以达到制造悬念
and prime us for cathartic twists.
并抑制我们的情感宣泄的目的
[door thudding]
[摔门声]
[building explosion booming]
[建筑爆炸轰鸣声]
But there’s one particular crosscut sequence
但是有一个特殊的交叉剪辑序列
that has always bothered me.
一直困扰着我
It’s in “Interstellar”,
就是在《星际穿越》里
when the story thread of Cooper and his team
库珀和他的团队
is intercut with that of his daughter back on Earth.
跟他地球上的女儿的故事线交织在一起的时候
This sequence is as gorgeously shot as any of his films,
这个序列和他任何一部电影中的一样精彩
the music is evocative, there are strong performances.
音乐很有感染力 演员表演也很出色
Yet there’s something about this sequence
然而 我认为这个序列中
that I think doesn’t quite work.
有些东西不太奏效
So, today, I want to briefly look at “The Dark Knight”
所以 今天我想简单谈一下《黑暗骑士》
to uncover the elements of an effective Nolan crosscut.
来揭示诺兰电影中交叉剪辑成功的要素
To test these elements in similar sequences
通过《盗梦空间》和《星际穿越》中
in both “Inception” and “Interstellar”,
相似的序列来检验这些元素
and to ultimately discover
并最终发现
why the narrative power of this “Interstellar” sequence
为什么《星际穿越》序列中的叙事力量
falls short of what we usually expect from one of our most
低于我们对这个充满野心的现代电影制片人
ambitious modern filmmakers.
通常的预期?
Let’s take a look at the Nolan crosscut.
让我们来看看诺兰的交叉剪辑
[suspenseful music]
[悬疑音乐]
In addition to being almost universally beloved,
除了几乎受全世界欢迎之外
“The Dark Knight” is filled with excellent examples
《黑暗骑士》中还充满了诺兰交叉剪辑的
of the Nolan crosscut,
优秀案例
so let’s start by examining one sequence
我们先来看一个序列
to discover the elements that make it so successful.
去发现使它大获成功的要素
As the film hurtles towards its conclusion,
当电影匆匆接近尾声时
the audience is following three parallel story threads.
观众正跟随着三条平行的故事线
Harvey Dent wants to punish Commissioner Gordon
哈维·登特想对戈登局长的妻儿下手
by targeting his wife and children,
以达到惩罚他的目的
two ferries have been rigged with explosives,
两艘渡轮被安装了炸药
and the only way for the passengers on board to save their own lives
对于船上的乘客来说 拯救自己生命的唯一方法
is if they each blow up the other ferry.
就是炸掉另一艘渡轮
And if they don’t, the Joker will blow both up both ferries
如果他们不这么做 小丑就会把两艘船都炸了
unless Batman can stop him.
除非蝙蝠侠能阻止他
Across all three threads,
纵观三条故事线
there are clear and comparable stakes.
都存在着明确的 可比较的危险
We understand that people’s lives are in danger.
我们知道人们正面临生命危险
But it’s not just that their lives are in danger,
但不仅仅如此
they’re in danger right now.
他们此时此刻就在危险之中
[Barbara] He has the kids!
[芭芭拉]他挟持了孩子
[Michael] Dent has taken Gordon’s family hostage.
登特把戈登的家人扣为人质
Harvey?
哈维?
Where’s my family?
我的家人在哪里?
[Harvey] Where my family died.
[哈维]在我家人死的地方
[Michael] And the other two story-threads feature
而其他两个故事线正在描绘
literal ticking clocks counting down to midnight,
时钟滴答作响 倒计时进入午夜
the Joker’s deadline for his ferry experiment.
以及小丑设置炸船实验到达最后时限
So we also understand that there’s an equality of urgency.
我们也明白 两件事情是同样紧迫的
All of their problems need to be dealt with immediately.
所有的问题都需要立即处理
But this sequence goes one step further.
但是这个序列却更进一步
To quickly define a term.
快速引入一个术语
The dramatic question of a film is the central question
“戏剧性”问题是电影的核心问题
that effectively summarizes what a story is about
它有效地概括了一个故事的内容
and is what keeps the audience watching.
同时也是吸引观众的原因
And in this case, the dramatic question of “The Dark Knight”
回过来看《黑暗骑士》的戏剧性问题
could be phrased,
可以概括成
will the Joker win the battle for Gotham’s soul?
小丑会赢得哥谭灵魂之战吗?
All three story threads in the crosscut sequence
所有交叉剪辑序列中的三条故事线
directly relate to this question.
都直接关系到这个问题
Batman is literally trying to stop the Joker,
蝙蝠侠在试图阻止小丑
the people on the ferries must resist playing his twisted game,
渡船上的人一定不乐意玩他变态的游戏
and Harvey Dent becoming Two-Face
而哈维·登特半边脸被毁
is the Joker’s doing.
也是拜小丑所赐
You need an ace in the hole.
你需要一张王牌
Mine’s Harvey.
我的王牌是哈维
[Michael] All three threads pertain
以上三条线索都联系到了
to a unified dramatic question.
一个统一的戏剧性问题
So now that we’ve cracked the code
既然我们已经破解了
of an effective Christopher Nolan crosscut sequence,
克里斯托弗·诺兰交叉剪辑序列成功的奥秘
let’s test our theory against similar sequences
让我们通过《盗梦空间》和《星际穿越》中
in “Inception” and “Interstellar”.
相似的序列来验证一下我们的理论
Both “Inception” and “Interstellar”
《盗梦空间》和《星际穿越》
feature extended crosscut sequences
在第二幕要结束的时候
at the end of their second acts.
都有大段的交叉剪辑序列
Both bring the characters to a moment of apparent defeat,
两者都在电影的最后几幕
setting up the final acts of the films.
让角色陷入了一个明显失败的境地
But do they both contain the underlying dramatic elements
但它们都包含像《黑暗骑士》里那么有效
that are so effective in “The Dark Knight”?
的潜在戏剧性元素吗?
Let’s find out.
让我们来找找答案吧
First up, clear and comparable stakes.
首先 明确的 可比较的危险
In “Inception”, a dream thief named Cobb and his team
在《盗梦空间》中 一个叫科布的盗梦者和他的团队
must descend through three levels of an elaborate dream world
为了在目标的心中植入一个想法
in order to implant an idea in their target’s mind.
必须潜入到错综复杂的三重梦境
During the final stage of this mind heist,
在这场意念盗窃的最后阶段
the film crosscuts between parallel lines of action
电影在全部三重梦境中
in all three dream levels.
相互平行的线索之间穿插
This cross-cutting creates suspense
这种交叉剪辑制造了悬念
because the audience understands what’s at stake
因为观众知道每一条线索
in each line of action.
所面临的危险
As the film explains several times,
正如电影中多次解释的那样
during this heist if they die in the dream world,
这次盗窃中 如果他们在梦境中死去
they will be trapped in limbo, instead of simply waking up.
他们会被困在迷失域 而不是简单地醒来
So what happens when we die?
那我们死后会发生什么?
We drop into limbo.
我们会陷入迷失域
Are you serious?
你说真的吗?
[Michael] And this is a problem
而这会产生一个问题
because there’s an army of subconscious security forces
因为有一股潜意识的防卫力量
trying to kill them in all three dream levels.
试图在全部三重梦境中把他们杀死
So now we’re trapped in Fischer’s mind
所以现在我们被困在费舍尔的脑子里
battling his own private army.
在跟他的“私家军队”战斗
And if we get killed, we’ll be lost in limbo
如果我们被杀了 就会迷失在迷失域
until our brains turn to scrambled egg.
直到我们的脑子烧坏
[Michael] So in all three crosscut story threads,
所以在这三条交叉剪辑的故事线中
the characters face these clear and comparable stakes.
角色面对的都是明确和可对比的危险
In “Interstellar”, a farmer-astronaut named Cooper
在《星际穿越》中 一名叫库珀的农民宇航员
leads a mission to find a habitable planet for humankind.
领导了一个为人类寻找宜居行星的任务
While his daughter, Murph,
而他的女儿 墨菲
struggles to solve a gravity equation
在努力解开一个重力方程
that would enable the evacuation of Earth.
这方程能帮助人类撤离地球
The crosscut sequence begins when a stranded scientist,
交叉剪辑序列开始于一名被困的科学家
Dr. Mann, also known as surprise Matt Damon,
曼恩博士 也就是“惊喜”马特·达蒙
betrays Cooper.
他背叛了库珀
(Cooper yells)
[库珀喊叫]
Intending to maroon Cooper and his team
并打算偷走库珀和他团队的飞船
on an uninhabitable planet by stealing their ship.
把他们困在一个无法居住的星球上
[Cooper] Dr. Mann, please respond.
[库伯]曼恩博士 请回答
[Michael] In this space-bound thread,
在这条太空线索中
the stakes are absolutely clear.
危险是完全清楚的
If he takes control of that ship, we’re dead.
如果他控制了那艘船 我们就死定了
[Michael] If Mann boards their ship, he will strand them,
如果曼恩登上他们的船 就会把抛下他们
and potentially doom all future human life.
并可能对未来所有人类的生存造成毁灭
This thread is crosscut with Murph’s earthbound story,
这条线索与墨菲在地球的故事交织在一起
where the stakes are trickier to pin down.
而地球这条线索的危险则更加难以预料
Do you have an idea?
你有办法吗?
A feeling.
一种感觉
[Michael] Murph has a feeling
墨菲有一种感觉
that the solution to the gravity equation
重力方程的解
lies in her childhood bedroom,
就潜藏在她童年的卧室里
and that it has something to do with her ghost.
而这和她认为的鬼魂有关
If there’s an answer here on Earth, it’s back there.
如果在地球上有答案的话 就是在那里
Somehow in that room.
以某种方式显现在那个房间
[Michael] So I would say the stakes
所以我认为
of Murph’s overall goal in this sequence are comparable.
墨菲总目标的危险在这个序列中是可比较的
If Murph doesn’t solve the gravity equation,
如果墨菲解不出重力方程
human life on Earth will end.
地球上人类的生命将会终结
But most of the earthbound thread we see during this sequence
但是我们看到此序列中大部分地球上的线索
is only indirectly related to that goal.
只是间接与她的目标相关
Instead, the thread is primarily concerned
相反 这条线索主要关注的是
with the mechanics of distracting her brother, Tom,
她如何分散哥哥汤姆的注意力
so she can gain access to her childhood bedroom
从而使她能够进入童年的卧室
and evacuate his family whose health is in danger.
同时疏散他面临危险的家人
And while the lives of Tom’s family are important,
虽然汤姆家人的生命很重要
they are not equal to the fate of humanity.
但还是不及整个人类的命运
He’d maroon us?
他会放逐我们吗?
He is marooning us.
他正在放逐我们
[Michael] So the overall stakes for Murph are high,
所以墨菲总目标的危险程度很高
but her immediate concerns are not comparable
但她眼下的担忧却比不上
for the audience right now,
此时此刻的的观众
which connects directly to the equality of urgency.
因为观众直接看到了两个同等紧迫的场面
As in “The Dark Knight”,
就像《黑暗骑士》一样
the team in “Inception” is racing against a ticking clock.
《盗梦空间》里的团队在和时间赛跑
They must complete the mission before Yusuf
他们必须赶在尤瑟夫
initiates the kick in the uppermost dream level.
启动最高层梦境穿越之前完成任务
Once he does, the characters at each lower-level
一旦他这么做了 每个较低层梦境的人物
need to simultaneously create the sensation
为了让自己清醒
of falling in order to wake themselves up.
需要同时创造坠落的感觉
But in “Inception”,
但在《盗梦空间》中
time progresses differently at different dream levels.
不同的梦境层次 时间的流速是不同的
Yusuf’s 10 seconds from the jump.
还有10秒 尤瑟夫就会跃下
[van tires screeching]
[尖厉的货车轮胎声]
Which gives Arthur three minutes.
这给了亚瑟三分钟
– Hey! – That’s him!
-嘿! -就是他!
Which gives us what?
这给了我们什么?
60 minutes.
60分钟
[Michael] So does this count as equality of urgency?
那么 这算是同等的紧迫性吗?
Well, urgency depends not just
当然 紧迫性不仅仅取决于
on how much time you have to do something,
你要花多少时间去做一件事
but also what it is you have to do in that time.
同时也取决于你在那段时间里必须做什么
In each dream level, the characters’ tasks are scaled
在每层梦境中 人物的任务难度都会加大
such that they barely have enough time to complete them.
以至于他们几乎没有足够的时间来完成
No, it’s too soon.
不 这太快了
[Michael] Moreover, they all face the same exact deadline.
此外 它们都面临同样的最后时限
[van thudding]
[货车撞击声]
So as it approaches, the urgency only continues to grow.
因此 随着时限临近 紧迫性只会继续增加
[avalanche rumbling]
[雪崩隆隆声]
In “Interstellar”, the space-bound story thread
在《星际穿越》中 太空的故事线
is constantly ratcheting up the urgency.
也在不断地增加紧迫性
[glass cracking][Cooper screams]
[玻璃破裂][库珀尖叫]
First, Dr. Mann attacks Cooper and cracks open his helmet,
首先 曼恩博士袭击库珀并砸开了他的头盔
so Brand must race to his rescue before Cooper suffocates.
所以布兰德必须在库珀窒息之前赶去救他
Cooper, we’re coming.
库珀 我们来了
Hang in there, don’t talk.
坚持住 别说话
[Michael] Then, Mann attempts to dock with their ship,
然后 曼恩尝试和他们的飞船对接
creating a new kind of ticking clock
库珀和布兰德正试图阻止他时
as Cooper and Brand try to stop him.
又产生了一个新的紧张时刻
Do not attempt to docking.
不要尝试对接
I repeat, do not attempt to docking.
我再重复一遍 不要尝试对接
[Michael] Every moment of this space-bound thread
这条太空线的每时每刻
is a race against time.
都是在与时间赛跑
Back on Earth, there is also a sense of urgency,
在地球上 也有一种紧迫感
but it’s unclear why the situation is so urgent.
但还不清楚为什么情况这么紧急
Before Murph arrives at the farm,
在墨菲到达农场之前
she indicates that time is of the essence.
她暗示时间是至关重要的
We’re running out of time.
我们没时间了
[Michael] But in this case,
但在这里
she’s referring to time for humanity as a whole.
她指的是整个人类的时间
Once they get to the farm,
当他们到达农场
Murph’s doctor friend Getty examines Tom’s family.
墨菲的医生朋友盖蒂检查了汤姆的家人
All of the dust in the air is causing respiratory issues.
空气中所有的灰尘都会引起呼吸道疾病
It’s bad. They cannot stay here.
情况很糟 他们不能留在这里
[Michael] If the family stays,
如果这家人留下来
presumably this would mean death for them,
也许对他们来说就意味着死亡
but not right at this very moment.
但在这非常时刻 此事并非那么紧迫
The most urgent threat facing Murph is her brother.
墨菲面临的最紧迫的威胁是她的哥哥
Let me make something abundantly clear,
让我把事情说清楚
you have a responsibility.
你有责任
[fist thudding] Oh, Jesus!
[拳头重击] 哦 天哪!
[Michael] Who stubbornly refuses to let his family leave
他固执地拒绝让家人离开
and keeps Murph from investigating her childhood bedroom.
并阻止墨菲调查她童年时的卧室
Get out and don’t come back.
滚出去 别再回来
[Michael] So Murph decides
所以墨菲决定
to light the farm’s crops on fire,
点燃农场的庄稼
knowing this will distract her brother long enough
她知道这会让哥哥分心很久
to allow her to get the family out
她就有机会把家人带出来
and to finally access the bedroom.
并最终进入卧室
Here, the threat of Tom’s return does seem to be urgent.
这时候 汤姆回来似乎是迫在眉睫的威胁
Go get in the backseat.
到后座去
Get in the backseat, now!
马上坐到后座去!
[Michael] But it’s not clear how urgent it is.
但目前还不清楚此时有多紧迫
This is because we don’t understand
因为我们不了解
what exactly Murph needs to do to solve the equation,
墨菲需要做什么来解出这个方程
nor how long she has before Tom returns.
也不知道汤姆回来之前她还有多少时间
In “Inception”, the task is clear,
在《盗梦空间》中 任务很明确
get Fischer into the strong room.
把费舍尔带到保险库去
And occasional shots of the falling van,
偶尔还有货车坠落的镜头
as well as expositional dialogue,
以及正在进行的其他场景
continually update the audience on the looming threat.
不断提示观众这迫在眉睫的威胁
Arthur has a couple minutes, we have about 20 minutes.
亚瑟还有几分钟 我们大概还有20分钟
[Michael] In the space-bound sequence of “Interstellar”,
在《星际穿越》的太空序列中
we follow Mann as he progresses toward the ship he’s trying to steal.
我们看着曼恩向他试图窃取的飞船靠近
We know he must be stopped
我们知道必须阻止他
and we can see that time is running out.
而且可以看到时间不多了
But back on Earth, our only reference
但在地球上 我们知道
for how much time they have left
他们还剩多少时间的唯一参照
is how concerned Getty is at any given moment.
是盖蒂时时刻刻流露的担心
So unless the viewer knows exactly how long it takes
因此 除非观众确切地知道
to douse a corn crop fire
扑灭玉米地的大火
and decode the messages a ghost sent you 23 years ago,
和破译23年前一个幽灵发给你的信息要花多长时间
it’s hard to feel the urgent threat of Tom’s return.
否则很难感受汤姆回来的威胁造成的紧迫感
Ultimately, this means that in this sequence,
因此 这意味着在这个序列中
Cooper gasping for breath on a distant planet
在一个遥远的行星上 库珀喘着粗气
while Brand races to save him
同时布兰德正赶着去救他
is intercut with Murph pouring gasoline on corn.
与墨菲在玉米上浇汽油的画面交织在一起
Both situations are urgent,
这两种情况都很紧急
but I think it would be hard to argue
但我认为很难说
that there is an equality of urgency.
两者就有同等的紧迫性
And part of this urgency problem
这里紧迫性出问题的部分原因
is directly connected to the lack of a unified dramatic question.
与缺乏一个统一的戏剧性问题有直接联系
In “Inception”, all three story threads are tied together
在《盗梦空间》中 所有三条故事线通过一个
by a fairly simple dramatic question.
相当简单的戏剧性问题交织在一起
Will Cobb’s team pull off the mind heist in time to escape?
即 科布的团队能及时完成意念盗取而逃脱吗?
And the crosscut scenes
而且 交叉剪辑镜头
are not just commenting on one another,
不仅仅只是互相参照
they’re quite literally affecting each other.
它们事实上在互相影响
When Yusuf initiates the first kick too early,
当尤瑟夫过早启动第一次穿越时
Arthur loses gravity
亚瑟失去了重力
and has to find a new way to drop the dreamers.
必须找到新的方法来甩掉那些梦中的人
All while Cobb and the rest of the team
与此同时 柯布和团队的其他成员
race to complete the mission
正争分夺秒地
before the second and final kick.
抢在第二次和最后一次穿越之前完成任务
So every crosscut is giving us relevant information
所以每个交叉剪辑都给了我们关联的信息
because each thread directly affects all the others.
因为每条线索都会直接影响其他线索
To be fair, not every movie can be “Inception”,
说实话 并非每部电影都能像《盗梦空间》那样
where the external forces in one crosscut thread
一条线索的外部影响
literally affect all the others.
会实际地影响到其他所有线索
And the threads of “Interstellar” do eventually
而《星际穿越》的线索确实最终
connect to the same dramatic question.
交汇到同一个戏剧性问题
Will the human species be saved?
人类会得到拯救吗?
[Cooper] I repeat, do not attempt docking. Please…
[库珀]重复一遍 不要尝试对接 请……
But the problem is that at this point in the movie,
但问题是 在电影的这个阶段
we don’t yet know how these threads are connected.
我们还不知道这些线索是如何联系到一起的
And we won’t know for a while.
而且一时半会儿也不会知道
The last image we see from the earthbound thread
在这个交叉剪辑序列中
in this crosscut sequence
我们看到地球线索的最后画面
is Murph finding the watch her father gave her.
是墨菲找到了她父亲送给她的手表
The rest of the sequence then focuses
然后 序列的其余画面都聚焦到了
on Mann’s attempt to dock with the ship,
曼恩试图与飞船对接
his failure and death, and Cooper’s badassery
他的失败和死亡 还有库珀因为要设法
as he manages to save himself and Brand from certain doom.
把自己和布兰德从厄运中拯救出来而倔强行事
This effectively ends the crosscut sequence,
从曼恩决定要杀死库珀开始
as it completes the dramatic action that began
戏剧性一幕就此完成
when Mann decided to try to kill Cooper.
这才有效地结束了交叉剪辑序列
Once onboard the ship, Cooper and Brand
当登上飞船后 库珀和布兰德
take stock of the situation, make a new plan,
估量了形势 重新制定一个计划
go their separate ways, and Cooper flies into a black hole
他们分开行动 库珀飞进了一个黑洞
and into act three.
然后进入第三幕
And only after that, 16 minutes later,
直到16分钟之后
do we pick up where we left off with Murph,
我们才回到之前墨菲的那条线索
and begin to understand how these two story threads pertain
并开始理解这两个故事是怎样
to the same dramatic question.
联系到同样的戏剧性问题
In “The Dark Knight” and “Inception”,
在《黑暗骑士》和《盗梦空间》中
the crosscut sequences work so effectively
交叉剪辑序列的效果非常好
because their lines of action are ultimately unified
因为它们的线索最终都统一到了
in their stakes, urgency, and dramatic question.
危急情况 紧迫性和戏剧性问题中
Without these underlying elements,
如果没有这些基本元素
cross-cutting can create a disjointed experience for the viewer.
交叉剪辑会给观众制造一种脱节的体验
[dramatic music]
[戏剧性音乐]
Christopher Nolan’s films
克里斯托弗·诺兰的电影
have redefined what a modern blockbuster can be.
重新定义了什么是现代大片
They’re not afraid to challenge mainstream audiences
它们敢于挑战主流观众
with labyrinthian plots and heady thematic ideas.
所凭借的就是曲折的情节和强有冲击力的主题
But most of all, Nolan’s films display
但最重要的是 诺兰的电影展示了
a distinct cinematic language,
一种独特的电影语言
embodied in the thrilling momentum of a crosscut sequence.
体现在扣人心弦的交叉剪辑序列
By investigating when these sequences work best,
通过研究这些序列什么时候最有效
we can better apply those techniques to our own stories,
我们可以更好地将这些技巧运用到我们自己的故事
and perhaps even better appreciate the next Nolan crosscut.
也能更好地鉴赏诺兰下一部电影的交叉剪辑
Hey guys, hope you enjoyed the video.
嘿 伙计们 希望你们喜欢这个视频
Last month, we announced a new video series
上个月 我们发布了一个新的视频系列
all about video game storytelling called “Story Mode”.
都是关于电子游戏的剧事讲述 叫作《剧情模式》
The first episode on “The Outer Worlds”
第一集《天外世界》
premiered on this channel
在这个频道首映
and the second episode on “Outer Wilds”
第二集《星际拓荒》
is available on Nebula.
可以在Nebula网上看到
Today, where we’re releasing our third “Story Mode” video
今天 我们将在这里发布第三个《剧情模式》视频
on one of my absolute favorite games “Horizon Zero Dawn”.
是关于我最喜欢的游戏之一《地平线:黎明时分》
In the video,
在视频中
we talked to the narrative director of the game,
我们与游戏的剧情总监John Gonzalez进行了交谈
John Gonzalez, about how to create a protagonist
内容是关于如何塑造
that is deeply connected to the game’s story world.
一个与游戏剧情世界紧密联系的主角
And you can watch that video today on Nebula.
今天你就可以在Nebula网上观看这个视频
If you’re not familiar with Nebula,
如果你不熟悉Nebula网站
it’s a streaming service developed by creators
这是一个由创作者开发的流媒体服务
to be a place where we can house our content ad-free
是一个我们可以免广告存储内容
and experiment with original content,
并对原创内容进行测试的网站
just like “Story Mode”.
就像《剧情模式》一样
Nebula features a lot of great creators,
Nebula拥有许多非常棒的作者
including Lindsay Ellis,
包括Lindsay Ellis
Just Write, Patrick Willems, and tons of others.
Just Write和Patrick Willems等许多其他作者
So how do you sign up for Nebula?
那么你如何在Nebula网注册呢?
Well, we partnered with CuriosityStream, the best place to find documentaries on the internet,
我们和查找纪录片的最佳网站CuriosityStream
to create a bundle deal.
达成了一个合伙项目
When you sign up for CuriosityStream
当你通过下面描述中的链接
using the link in the description,
注册CuriosityStream的时候
not only will you get access to CuriosityStream,
你不仅可以访问CuriosityStream
but you’ll also get a Nebula subscription per free.
也可以免费订阅Nebula
And for a limited time, CuriosityStream’s offering 26% off their annual plan.
而且CuriosityStream还提供26%的年费限时折扣
That’s less than $15 a year
包括CuriosityStream和Nebula订阅在内
for both CuriosityStream and Nebula.
每年还不到15美元
So head to the link in the description,
所以请前往描述中链接的地址
and you’ll get both CuriosityStream and Nebula
你就会得到CuriosityStream和Nebula
for 26% off.
26%的折扣了
Or you can go to CuriosityStream.com/LFTS.
或者可以登录CuriosityStream.com/LFTS
You’ll be helping to support other educational creators
你将能帮助支持其他教育视频的作者
getting CuriosityStream
登录CuriosityStream
and there are thousands of documentaries,
上面有成千上万的纪录片
and access to all the episodes of “Story Mode”,
和《剧情模式》的所有剧集
including our latest on “Horizon Zero Dawn”.
包括我们最新的《地平线:黎明时分》
Thank you as always to the patrons
还是一如既往地感谢赞助者
for making this channel possible.
使这个频道能够持续办下去
And thanks for watching.
同时也感谢各位收看

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