导演与电影配乐的制作人是如何沟通、协调做出想要的电影配乐？ 第1页

I strongly believe that I need to give the musician space to create the most suitable music for the film. By talking together about the emotions and the meaning behind each scene, the composer slowly finds its way into the sound of the film.

It is one of the greatest privileges in my life to work with Hans Zimmer on Dune. He was among the first to came onboard. To create the score for Dune, Hans Zimmer went into the deep desert. When he came back, he brought with him the most beautiful music. If you’ve heard the original soundtrack, you would have recognized that all the soundtracks are inspired by the sound of the wind and the sand. He kept saying to me, Dune’s music is not from our world. It needs to come from another time, another planet. It needs to do a soundscape that we haven’t heard before. Therefore, he did tons of experiments. He even created new instruments, which led to new musical language.

我坚信我需要给予音乐家足够的空间去创造最适合电影的音乐。通过和导演共同讨论每一个场景背后的情感与意义，作曲家会逐渐找到创造出电影之声的方向。

能有机会和汉斯·季默合作《沙丘》是我一生中最大的荣幸之一，而他也是最早加入《沙丘》这个团队的主创之一。 为了给《沙丘》制作配乐，汉斯·季默曾深入沙漠。当他从沙漠回来之后，他为《沙丘》带来了前所未有的美妙音乐。如果你已经听过《沙丘》的原声音乐，你一定能够听出来，所有的配乐都有来自风声、沙漠之声的灵感。他一直对我说，《沙丘》的音乐不是来自我们这个世界的，它是来自另一个时空、另一个星球，它必须是我们从未听到过的声音图景。因此他进行了无数的实验，甚至创造了新的乐器，也最终创造出了新的音乐语言。