Cooke 故事 | 一颗镜头所拍摄的电影

在这个电影创作者习惯于储备大量器材、掌握最新技术以达到完美视效的时代，却存在一种令人瞩目的简约逆流。当代一些最具视觉特色与情感共鸣的电影，有一个令人惊讶的共同点——它们仅用一颗定焦镜头拍摄完成。

In an era when filmmakers often accumulate vast arsenals of gear, chasing the latest technological innovations in a quest for visual perfection, there exists a counter-movement of striking simplicity. Some of the most visually distinctive and emotionally resonant films of our time share a surprising common trait—they were shot entirely with a single prime lens.

《请以你的名字呼唤我》（2017）

镜头作为叙事者

The lens as a storyteller

摄影选择的镜头，从根本上决定了画面的视野——什么会被看见，什么会被隐藏。镜头塑造了电影的基调与风格，影响观众如何感知人物、空间和情感暗流。比如，用一颗广角 24mm 镜头拍摄特写，会拉长面部特征并使更多背景环境进入画面，从而通过周围环境来定义人物；反之，如果用长焦拍摄相似的画面，则会把人物隔离在模糊的光影背景中——通过空间压缩来强化现实。

The lenses cinematographers choose fundamentally define their field of view—what will be seen and what remains hidden. They shape the very tone and style of a film, influencing how audiences perceive characters, spaces, and emotional undercurrents. Shooting a close-up with a wide 24mm lens elongates facial features and brings more environment into focus, effectively defining characters through their surroundings. Conversely, capturing similar shots with a telephoto lens isolates subjects against a canvas of abstract, blurred light—heightening reality through spatial distortion.

但如果电影创作者选择在整部作品中使用单一焦段，那会发生什么？导演与摄影师在无法更换镜头焦段的情况下，如何留下他们的创作印记？答案在于：不去选择，本身就是一种强有力的选择。

But what happens when filmmakers embrace the constraint of a single focal length throughout an entire project? How might directors and cinematographers imprint their creative vision without the luxury of lens changes? The answer lies in understanding that the choice not to choose is itself a powerful creative decision.

约束的力量

The Power of Limitation

网飞最新剧集《混沌少年时》以独具匠心的技艺引人注目——每一集都一镜到底拍摄完成。摄影指导马特·刘易斯（Matt Lewis）面临着一个不同寻常的挑战：他必须为整部剧选择唯一一个焦段。他选择了SP3 32mm镜头，并解释道：“如果再广，就会减少我们隐藏灯光、走线、吊臂甚至一些机位下方空间的可能性；如果再长，我们不断变化的走位就可能让观众产生眩晕。”

When Netflix’s recent series “Adolescence” emerged as a technical tour de force—each episode filmed in a single, unbroken shot—cinematographer Matt Lewis faced an unusual challenge. He needed to select just one focal length for the entire production. His choice of a 32mm SP3 lens represented a careful balance: “Any wider and we were going to reduce opportunities to hide lighting, cabling, rigging and booms above or sometimes underneath our frame; conversely, any longer and our ever-changing choreography could have become nauseating.”

《混沌少年时》（2025）

这一务实的决定揭示了一颗镜头拍摄的深层真理：限制往往能激发最具创新性的艺术解决方案。当消除了更换镜头的变量，创作者会把精力转向灯光、调度、美术设计和表演等视觉叙事的其他环节。这种约束最终成为一种解放，而非限制。

This practical decision illuminates a deeper truth about the single-lens approach: limitations often spark the most innovative artistic solutions. By eliminating the variable of lens choice, filmmakers redirect their creative energy toward other aspects of visual storytelling—lighting, blocking, production design, and performance. The constraint becomes liberating rather than restrictive.

感知的窗口

A Window to Perception

不同焦段会从根本上改变我们对空间与情绪的感知，这种作用远超技术参数本身。超广角扩大了空间，让环境显得辽阔，同时可能制造心理上的不安或史诗感；标准焦段更接近人眼视角，提供自然亲密的情感表达；而长焦则压缩空间、突出人物，营造距离感或观察感。

Different focal lengths fundamentally alter our perception of space and emotion in ways that transcend mere technical specifications. Ultra-wide lenses expand spatial relationships, making environments feel vast while potentially creating psychological unease or epic scale. Standard lengths closely approximate human vision, offering naturalistic and emotionally intimate perspectives whilst telephoto lenses compress space, isolate subjects, and create a sense of distance or observation.

选择一种焦段，意味着创作者对故事如何被感知做出了哲学性的宣言。它建立了统一的感知框架——一种贯穿全片的视觉方式。在“一镜到底”式的拍摄中，自然只能使用一个焦段的镜头；但也有不少创作者在多机位、多角度以及剪辑的情况下，依然坚持全片只用一个焦段。

By committing to just one of these perspectives, filmmakers make a powerful philosophical statement about how their story should be perceived. They establish a consistent perceptual framework—a single way of seeing that unifies the entire narrative experience. Whilst shooting “oners” naturally limits the focal length choice down to a single lens, filmmakers who employ multiple angles, coverage and editing techniques also choose to never switch focal length for certain projects.

陈哲艺：充满挑战的40mm

Chen Zheyi: The Challenging 40mm

《燃冬》（2023）

导演陈哲艺与摄影指导余静萍合作拍摄了电影《燃冬》，该片拍摄于12月的中国延吉市，冷酷的自然环境和紧张的准备时间都为影片制作带来挑战，团队决定用一颗Cooke Panchro/i FF 40mm镜头拍摄全片。导演坦言这确实让整个摄影团队“有些头疼”。

Director Chen Zheyi collaborated with cinematographer Yu Jingping on the film Burning Winter, which was shot in Yanji City, China, during December. The harsh natural environment and tight preparation schedule presented significant challenges for production. The team opted to shoot the entire film using a single Cooke Panchro/i FF 40mm lens. The director admitted this decision did indeed cause the cinematography team "a bit of headache".

他说：“因为这个定焦镜头最能模拟人眼看世界的视觉体验。我从未尝试过只用一颗镜头拍整部电影，但在匆忙准备过程中，我突然发现这种视觉效果非常舒适，影片显得自由而自然，因为大多数镜头都是手持拍摄。这种拍摄方式带来了极大的舒适感，让观看者能够容易地浸入影像，视觉效果非常美妙。”

He remarked, "Because this prime lens most closely mimics the visual experience of the human eye perceiving the world. I had never attempted to shoot an entire film with just one lens, but during the hurried preparations, I suddenly realised this visual approach felt remarkably comfortable. The film appears free and natural, largely because most shots were handheld. This method of filming brought immense ease, allowing viewers to effortlessly immerse themselves in the imagery. The visual effect is truly exquisite."

为了实现这一挑战，整个摄影组进行了大范围的移动，为了拍摄雪山风景，甚至爬到高处将摄影机架到巨大的灯架上以达到目的。尽管一颗镜头的限制在拍摄中带来了构图与摄影机运动的挑战，但这种克制的视觉语言反而让影片显得更加统一与纯粹。通过手持拍摄的方式，《燃冬》在冷冽的自然环境中形成了独特的流动质感，让观众在雪景与人物的距离间，感受到自由而内敛的力量。更多内容请阅读：陈哲艺导演采访 |《燃冬》意外的艺术创作

To meet this challenge, the entire cinematography team undertook extensive relocations. To capture the snow-capped mountain scenery, they even ascended to elevated positions, mounting the camera on a massive lighting rig to achieve the desired effect. Though the constraint of a single lens posed challenges in composition and camera movement, this restrained visual language lent the film greater unity and purity. Through handheld cinematography, Winter's Fire cultivated a distinctive fluidity within the frigid natural setting, allowing audiences to perceive a quiet, restrained power amidst the distance between snowy landscapes and characters. For further reading:陈哲艺导演采访 |《燃冬》意外的艺术创作

卢卡·瓜达尼诺：观察视角的35mm

Luca Guadagnino: The Observational 35mm

《请以你的名字呼唤我》（2017）

导演卢卡·瓜达尼诺（Luca Guadagnino）在拍摄《请以你的名字呼唤我》（2017）时，提出全片仅用一颗Cooke S4/i 35mm 镜头。摄影指导萨永普·穆克迪普罗（Sayombhu Mukdeeprom）欣然接受了挑战。他回忆：“制片人问我要不要准备其他更广的焦段，以防万一？我说‘不用，不用。我想把自己绑定在这个方法上，因为这是我的工作方式。如果你限制自己，就会在不同主意中挣扎。’”这种挣扎最终造就了近年来视觉上最唯美的电影之一。

When director Luca Guadagnino proposed shooting “Call Me By Your Name” (2017) with a single Cooke S4/i  35mm lens, cinematographer Sayombhu Mukdeeprom embraced the challenge with enthusiasm. “The producer asked me, should there be some other, wider lens? Just in case? I said ‘No, no. I want to tie my hand to this approach, because this is how I work. I think if you limit yourself to something, you struggle inside your idea.” This creative struggle ultimately produced one of the most visually sumptuous films of recent years.

然而，在实际拍摄前，他也产生了顾虑——单一镜头拍摄需要缜密计划、对拍摄场地的深入了解、不配合的天气以及各种技术难题面临解决。但 35mm 镜头最终完美契合了影片主题。穆克迪普罗说：“我的目标是观察，用这支镜头既能拍特写，又能在同一画面里放下人物关系和环境。”这种观察性正好呼应了影片关于发现、欲望与感知觉醒的青春主题。

As production approached, Mukdeeprom’s initial excitement gave way to practical concerns. A single-lens approach would require meticulous planning, intimate knowledge of locations, and creative solutions to technical challenges. Yet the 35mm lens proved ideally suited to the film’s thematic concerns. As Mukdeeprom explained, “Observation was my goal on this film—to try to observe every moment. The Cooke S4/i 35mm was close enough for the close-ups and wide enough to frame the characters in relation to one another and in perspective with their surroundings.” This observational quality perfectly complemented a coming-of-age story centred on discovery, desire, and the awakening of perception.

不过，瓜达尼诺在后续作品中并未坚持一颗镜头拍摄手法。他与穆克迪普罗再度合作的《阴风阵阵》（2018）用了所谓"能用到的所有焦段镜头"，包括超广角10-14mm镜头。单一镜头拍摄应当服务于不同故事的独特需求，而非沦为教条式的限制。

Interestingly, Guadagnino didn’t remain committed to the single-lens approach for his subsequent work. His next film, “Suspiria” (2018), also shot by Mukdeeprom, employed what he called the “entire roster of lenses you can use,” including ultra-wide 10-14mm lenses. The single-lens approach should serve the specific needs of each story rather than becoming a dogmatic limitation.

韦斯·安德森：颠覆性的27mm

Wes Anderson: The Subversive 27mm

《瓶装火箭》（1996）

导演韦斯·安德森（Wes Anderson）与摄影师罗伯特·约曼（Robert Yeoman（ASC））的合作，为我们提供了一个通过技术限制塑造影片风格的案例。他们的首部长片《瓶装火箭》（1996）不仅代表一种美学选择，更是一次对于制片厂束缚的创造性反抗。全片几乎仅用一颗 27mm Primo镜头拍摄。

The creative partnership between director Wes Anderson and cinematographer Robert Yeoman ASC offers an intriguing case study in how technical limitations can shape a filmmaker’s developing style. Their debut feature, “Bottle Rocket” (1996), represents not just an aesthetic choice but a small act of creative rebellion against studio constraints.

因为制片方拒绝了他们使用变形宽银幕镜头的要求，他们偷偷用 27mm 拍摄，并在拍摄报告中伪装成使用 50mm、100mm。Yeoman 回忆说：“制片人两天后跑来对我说，‘你们开始用其他镜头啦？’我就说，‘对啊，我们在混搭呢，用了各种镜头！’”除了少数特写用 35mm，大部分影片都保持了他们最初的愿景。

After being denied their preference to shoot with anamorphic lenses, Anderson and Yeoman covertly decided to shoot almost the entire film on a single 27mm Primo lens. As Yeoman recounts, “The very first day we put up a 27mm Primo and we just started shooting with it. And then we moved into the closeups and we’re still shooting with it. And Wes is a big fan of Roman Polanski. ‘Rosemary’s Baby’, I think was shot on a 20mm lens. So he said, ‘why don’t we just shoot the whole movie on a 27?'”

27mm 这个略广于标准的焦段，帮助建立了安德森标志性的美学——略带夸张的现实感、对称的画面、丰富细节与群戏空间。这种视觉一致性后来成为韦斯安德森风格的重要标志。

The 27mm focal length, slightly wider than standard, helped establish Anderson's signature aesthetic—a slightly exaggerated sense of realism, symmetrical compositions, rich detail, and space for ensemble scenes. This visual consistency later became a defining hallmark of Anderson's style.

大卫·柯南伯格：控制心理的21mm

David Cronenberg: The Psychological 21mm

《大都会》（2012）

最具心理力量的单一镜头运用，或许来自大卫·柯南伯格（David Cronenberg）的《大都会》（2012）。摄影师彼得·苏西兹斯基（Peter Suschitzky（ASC））全片只用Cooke S4/i 21mm拍摄。影片大部分发生在豪华加长轿车内，21mm 的超广视角制造了微妙的空间扭曲，完美映射主人公逐渐扭曲的现实感。

Perhaps the most psychologically potent use of a single lens appears in David Cronenberg’s “Cosmopolis” (2012). The film unfolds predominantly within the confines of a luxury limousine, where the 21mm ultra-wide angle lens creates a subtle spatial distortion, perfectly mirroring the protagonist's increasingly warped sense of reality.

背景被拉伸变形，人物显得不自然，狭小的轿车空间既宽广又窒息。这种“疏离感”与影片关于资本主义晚期的异化主题高度契合。Suschitzky 说过，他欣赏“只用一颗镜头所带来的纪律性”。这种限制迫使他在灯光和调度上不断创新，最终形成影片独特的视觉心理效果。

The background stretches and distorts, rendering the characters unnatural, while the confined car interior feels both expansive and suffocating. This sense of alienation resonates profoundly with the film's theme of dehumanisation in late capitalism. Suschitzky has remarked that he admires "the discipline imposed by shooting with a single lens". This constraint compelled him to continually innovate in lighting and staging, ultimately forging the film's distinctive visual and psychological impact.

现实挑战

The Practical Challenges

采用一颗镜头拍摄，需要极其周密的准备。没有变焦的灵活性，意味着必须完全熟悉拍摄场地，精确设计走位，并指导演员适应空间限制。穆克迪普罗就提到：“作为摄影师，这意味着大量额外的前期准备。”天气、光线和空间限制都会成为更大的挑战，但这些挑战也赋予影片独特的视觉气质。

Embracing a single prime lens approach demands meticulous preparation. Without the flexibility to adjust focal length on set, filmmakers must thoroughly understand their locations, carefully plan blocking, and educate actors about spatial constraints. Mukdeeprom remarked: "As a cinematographer, this entails a considerable amount of additional preparatory work." Weather conditions, lighting, and spatial constraints all present greater challenges, yet these very constraints endow the film with a distinctive visual character.

《青春年少》（1998）

何时采用单一镜头

When to Embrace the Single Lens

一颗镜头拍摄最适合那些需要有一致性、甚至主观视角的故事。探索心理题材的影片往往因此受益。但对于复杂叙事、动作场景或需要多样化视觉的故事，灵活的方法可能更适合。关键在于理解故事的具体需求。

The single-lens technique proves most effective when the narrative demands a consistent, almost subjective visual perspective throughout. Films exploring psychological interiority benefit from the unwavering point of view. However, this approach isn’t universally applicable. Complex narrative structures, action sequences, or stories requiring varied visual landscapes might benefit from more flexible approaches. The key lies in understanding a story’s specific visual and emotional requirements.

《天才一族》（2001）

统一的美学

A Unified Aesthetic

大多数观众未必能察觉影片仅用了一颗镜头，但一定能感受到它的效果。它能带来瓜达尼诺所说的“直接性”，让科技不干扰演员与观众之间的连接。这种一致性让影片的场景、情绪和叙事更紧密地连结成一个整体。

Most viewers couldn’t easily identify that a film was shot using only one lens, yet they invariably feel its effect. A single lens creates what Guadagnino calls a “straightforward” quality that avoids placing “technology in-between the camera and performance.” This coherence acts as connective tissue, binding diverse locations, tones, and narrative movements into a unified whole.

正如安德森和约曼在《瓶装火箭》中发现的，单一镜头能成为导演早期作品的视觉标识。《青春年少》（1998）和《天才一族》（2001）延续了这一传统，约 90% 的镜头用一颗 40mm 变形镜头完成。这帮助安德森的风格在他更复杂的美学出现之前，就已建立起辨识度。

As Anderson and Yeoman discovered on “Bottle Rocket,” the single lens approach creates a distinctive visual signature that can define a filmmaker’s early career. Their subsequent films “Rushmore” and “The Royal Tenenbaums” continued this tradition, with approximately 90% of shots captured using a single 40mm anamorphic lens. This consistency helped establish the recognizable “Anderson aesthetic” long before his more elaborate stylistic flourishes emerged.

《大都会》（2012）

对年轻电影人来说，启示很明确：有时最强大的创作选择，就是限制自己的选择。镜头是表达的方式，而非目的。坚持一种看待世界的方式，也许会帮助你找到清晰有力的视觉语言——一种通过简约而非复杂、一致而非多变来发声的语言。在这种专注的视野里，蕴藏着电影真正的变革力量。

For aspiring filmmakers, the lesson is clear: sometimes the most powerful creative choice is the decision to limit your options. A lens is ultimately a means of expression, not an end in itself. By committing to a single way of seeing, you might discover a visual voice of remarkable clarity and power—one that speaks through simplicity rather than complexity, through consistency rather than variation. In this focused vision lies the potential for truly transformative cinema.

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