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「人生太苦短,別用爛音樂折磨自己」– 好萊塢配樂大師Hans Zimmer

不知大家是否還記得,當初在看迪士尼經典《獅子王》,因為劇情轉折及動人音樂,捨不得移開視線的感動。直至26年後的今天,很多人依舊能夠哼上一段經典主題曲,而隱身在這不朽音符背後,正是這位好萊塢電影配樂大師 Hans Zimmer。

Before you read

Hans Zimmer
漢斯.季默
1957年9月12日

WHO

好萊塢最傳奇的電影配樂大師,Hans Zimmer作為數位混音的先驅,他的作品特色在於混合電子樂和傳統交響樂的編曲方式,並利用不同的樂器引出劇情高潮。2007年,他曾獲The Telegraph選為「還在世的前百大天才」(Top 100 Living Geniuses)。

WHAT

Hans Zimmer的配樂生涯獲獎無數,曾橫掃4座格萊美獎、3座全英古典音樂獎(Classic Brit Awards),並在1988年以《雨人》首次入圍奧斯卡最佳電影配樂,其後在1995年以《獅子王》獲得奧斯卡及金球獎雙項最佳原創配樂;2001年以《神鬼戰士》獲得金球獎最佳原創配樂。

HIGHLIGHT

2010年神劇《全面啓動》(Inception)當中,由Hans Zimmer所製作的配樂橋段「BRAAAM」被譽為經典,卻在近2-3年多次受到其他電影及預告的沿用,氾濫成災。對此,Hans Zimmer曾在Vulture訪問中,毫不掩飾表達出對這種濫用的厭煩。


訪談節錄

節錄自 2017 年季默接受澳洲媒體SBS的訪談。

我不想演奏「別人的」音樂

I was always making a noise on the piano. Then, one day my mom said "Do you want to have a piano teacher?" When you're a little kid, you sort of misunderstand what that means, or I certainly did.

我小時候總會用鋼琴製造噪音,有天,媽媽問我說:「你想學鋼琴嗎?」想當初你還是小孩,你會誤解這個問題背後的意思,至少我誤會了。

I thought that a piano teacher was somebody who was going to teach you all that crazy noise I was hearing in my head, how to make that come out of my fingers. That's not what piano teachers do! They teach you how to play other people's music. I didn't want to play other people's music!

我當時以為鋼琴老師能教的,是如何將我腦中瘋狂的聲音轉化成指尖上的音樂,但那不是老師們會做的事!恰好相反的,他們教我彈奏別人的音樂,但我才不想演奏別人的音樂!

Time

《全面啟動》-- 你「聽到」時間慢下來了嗎?

Everything is shifting all the time; like in the 90s everybody wanted to have an end title song. Now, whenever anybody says, should we have an end title song; I'm just thinking... that's so last century.

所有事物都會隨著時間改變:就像是上世紀90年代,每個人都想做電影主題曲。現在,只要有人問:「我們要不要做主題曲?」我就會想…嗯哼,真的有夠老套的。

You know that hideous sound we made in Inception? It was a story point in the script. It's all about what happens if you slow time down; it's a story point, but it ended up in all of these people's trailers, where it's not a story point. They're just like using it to be able to cut from one non sequitur to the other and that's a bit like those songs. The song has nothing to do with the movie, and it's a marketing thing.

你知道在電影《全面啟動》中,那段嚇人可怕的配樂嗎?伴隨這段配樂的是劇情的轉捩點,描述了時間慢下來後,到底會發生什麼樣的變數。這段配樂是作為劇情的轉捩點而誕生,但之後卻被濫用在其他部電影的預告片中,用來串聯與劇情毫不相關的電影片段,丟失了原本的意義。這就像是有些曲子,完全與電影沒有絲毫關聯,僅僅作為商業行銷的用途而存在。

The whole conversation we had was to be inside he movie. For instance, one of my favorite scores is John Williams' Superman, but it's very much objective in a way. It sits above the character.

我們整場對話的意義在於走入電影世界之中,舉個例子來說,我個人最喜歡的電影配樂就是John William的《超人》,然而,但這段音樂卻沒有什麼帶入感,音樂本身甚至跟角色沒什麼關係。

*這邊指的是1978年電影《超人》(Superman)配樂,由倫敦交響樂團(London Symphony Orchestra)演奏。

You know everything about it, as opposed to the way I like working, which is to give you a glimpse at something; I'm not even going to tell you what it is, and I'm just going to invite you in and let you discover it; I'm going to let you be part of this world. Sometimes I'm going to mislead you a little bit; I'm going to make it all a little scary.

這段配樂直白到一聽就懂,這與我製作音樂的原則截然不同,我希望能藉由音樂讓觀眾一窺電影的繽紛世界。我從來不打算直接告訴你,這段音樂代表什麼,而是邀請你進入電影的大門,讓你去探索、參與這偌大的世界。甚至有時候,我可能會稍微做些誤導,讓這一切帶點恐怖的氣氛。

Cornfield Chase

《星際效應》-- 從一封信開始的磅礡交響樂 A love letter to my son

I see Chris, and I can tell he's making the idea up as he goes. He's going "What if I were to send you one page, just describing something, but I won't tell you what the movie is about. Will you give me one day and write whatever you get from that page?"

我與Chris見面時,我看得出來他正在構思這部電影。他當時對我說:「如果我給你一小段的敘述,描述一件事情,但我不會說出這部電影的主題。你能空出一天的時間,寫下你從這敘述中得到的靈感嗎?」

* Chris是《星際效應》導演Christopher Nolan的簡稱。

I got this beautiful, type-written letter which describes what it meant to be a father. So, I sat down Sunday morning and I, in turn, in a funny way, wrote a love letter to my son, what it meant to me. I've done a lot of movies, but every time I sit down, it's like blank page; Oh my god, I have no idea what to do.

於是我拿到了一張優美的打字稿信件,上面款款寫著為人父親的意義。好笑的是,之後某個星期天早晨,我坐下來,寫了一封給我兒子的情書,那就是我認為Chris這封信所代表的意涵。我曾為很多電影製作音樂,但每一次我坐下來思考新樂曲,腦中還總是一片空白。天啊!我完全不知道該做什麼。

I finished at around 10:30 p.m. with this really fragile, personal piece and I phoned Chris' house and his wife answered. He comes over and I play him the thing, finish it and turn around to him and I go, "So, what do you think?" He pauses for a second and goes "Suppose I'd better make the movie now!"

大概一直到晚上10點半,我才寫出這段敏感又私人的旋律,隨後我打給Chris家,是她妻子接的電話。之後Chris就過來我這,聽完這段音樂。結束後,我轉過身問:「你覺得如何?」Chris停頓了一下,接著說:「看來我不得不動手做這部電影了。」

Then he starts talking to me about space. He talks to me about all of these things and I'm like "Hang on a second. I've just given you the tiniest, most fragile, discreet, little piece of music. What's that got to do with all this 'epicness'?" and he goes "Well, now I know where the heart of the movie is." All I knew was ultimately that there was this moment of, "You're leaving. You're leaving your child behind."

之後,Chris開始對我大談太空的事情。我當下反應不過來,心想:「慢著,剛剛給你的是一段細碎、敏感、帶點謹慎的旋律,這樣脆弱的旋律,跟星際的『磅礡史詩感』能有什麼關聯?」Chris回答:「至少我現在知道這部電影的核心在哪了。」最終,我只知道電影裡有這麼一幕情境是「你要離開了,你將要永遠離開、放下你的孩子了。」

Circle of Life

《獅子王》 -- 全世界聽到心碎、淚水、釋懷,如晨曦一樣的音樂

I didn't work through it. I just took refuge in it, which I didn't realize. I wouldn't be in music if this hadn't happened, because it was two things. It was a complete refuge, to just lose yourself in playing. And the other thing was, you know everybody is trying to keep a brave face when tragedy hits.

我一直都沒意識到,音樂沒有解開我的心結,我只是躲進音樂尋求心靈庇護。如果我的父親沒有過世,我根本就不會接觸音樂,背後其實有兩個原因:一個就是沉浸在音樂演奏,對我是全然的心靈慰藉;另外一層原因是每個人總在悲劇發生後,強裝出勇敢面對的樣子。

The only thing that would put a smile on my mom's face was when she heard me play the piano. I knew that I was being a good boy when I played the piano, and that I could make her day a little brighter. In a funny way, it was sort of helpful to me, because I didn't realize that until The Lion King. My daughter was six-years-old. Weirdly, it was around the same age (that my father passed away). It's a story about fathers and sons. And you know, the father dying...

當時,我母親就只會在我彈鋼琴時,她臉上才會露出一抹微笑。而我深深了解到,那個彈鋼琴的我,正在扮演一個好孩子,而我的琴聲可以讓她的一天稍微明亮一些。說來有點好笑,我是直到為《獅子王》作曲時,才恍然領悟這個道理。作曲當時,我的女兒才6歲,巧合的是我也是在她這樣的年紀,經歷父親的死亡。而你知道的,《獅子王》裡的爸爸也…

The advantage of not having a musical education is that I always have to invent, and I have to write from the heart. I don't know where else to write from. In music I have to be completely honest. I don't know how not to be, and I have to bare it all. So, it's a bit... complicated because you have to make up your mind, how much you really want people to see you.

沒有接受正統音樂教育的優點就是,我必須要自己創作,而且是要從內心深處去創造,不然我也不知道該從哪裡開始。面對音樂,我必須保持全然的誠實,說實話,我也不知道該怎樣去遮掩,我得完全敞開內心。這…非常的複雜,因為你必須下定決心,向大眾展現最真實的自己。


 文/ 英語島編輯室

本文收錄於英語島English Island 2019年8月號
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