主页 和迪迪埃对话 200216 对迪迪埃新作品反馈的信息
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发表于2020-02-24 16:57:18    只看楼主
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短消息
为了使迪迪埃可以及时得到中国爱好者对他新作的反应,20200216笔者综合了四位朋友的评论并通过百度在线翻译译成英文(对个别地方做了修正)发送给迪迪埃。为了使更多爱好者共享这些资料,以下转发对迪迪埃提供的文件内容:
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Dear Didier, Here are the original Chinese (and translated English versions) of the feedback from four Chinese friends. They are for your reference. I've checked that their accuracy is quite good (But sorry there may still be some mistakes). if you have the conditions, you can also try to translate them by yourself using online translation:
01 CN 微信朋友圈 由MG 20200212
今日仔细阅读了原信件和yeah信件里所有的链接网址的内容,敬佩于图努斯先生的创造力和成果,也感谢韩老将相关大量信息整理推广。我在微信里回复吧,邮件里就不回了。
关于1922年的德国默片《诺斯费拉图》,的确享有盛名,在默片史乃至电影史上地位非常高,您已经通过搜索研究了解了相关信息了,我便不用再作介绍。唯一想补充的是,导演茂瑙是一位罕见的天才,他1931年便不幸离世了,时年43岁,他有限生命中为数不多的的电影我大多看过,几乎全部喜爱,技法之绝伦、走在时代前沿性自不用说,他电影的内容主题往往是至善在恐怖绝望的人类处境中的最终获胜(与同时期很多其它表现主义导演不同,他们有可能会描述至恶的最终获胜),虽然如今稍显粗拙,但正是这种朴素的至善具有永恒的感动性。如果茂瑙没有过早离世,天晓得他能再创作出多少杰作。
阅读过“图努斯先生自己写的介绍性文章前半部分”后,能感受到他为这项工作在多方面做的充足准备和巨大努力。图努斯先生已经对同领域(即默片配乐领域)的一些共性特点和自己此作的特殊性特点做了精准的概括。
我第一次观看这部电影是一年前,配乐仍是传统型的默片配乐(虽然感觉得到稍有配合恐怖片和表现主义气质的创新性举措),但已经足够精彩。我期待在到时候观看图努斯先生的作品时为其中的uniqueness感到更精彩。
在英文或中文的“与迪迪埃对话”栏目中留下反馈,或在YT网站视频页面下留言,这件促进交流并有益的事情,我肯定会极为认真地做。不过,由于一些原因,大概要到三月上旬或中旬才能开始看他的视频并写留言反馈………
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01 EN Chinese Wechat by MG 20200212
Below is Baidu online auto translation
Today, I carefully read the contents of all links in the your original letter . I admire Mr. Thunus' creativity and achievements. I also thank Mr. Han for organizing and promoting a lot of relevant information. I'll reply in wechat. I won't reply in the email.
As for the 1922 German silent film " Nosferatu", it really enjoys a great reputation. It has a very high position in the history of silent film and even in the history of film. You have learned the relevant information through search research, so I will not introduce it again. The only thing I want to add is that Murnau, the director, is a rare genius. He died in 1931 at the age of 43. I have seen most of the few films in his limited life, almost all of which I like. His techniques are unparalleled and at the forefront of the times. Needless to say, the theme of his films is often the ultimate victory of the best in the terrible and desperate human situation Different from other expressionist directors, they may describe the ultimate victory of evil). Although it is a little crude now, it is this simple and best that has eternal moving. If Murnau didn't die early, God knows how many more masterpieces he can create.
After reading "the first half of Mr. Thunus' own introductory article", I can feel his ample preparation and great efforts for this work in many aspects. Mr. Thunus has made a precise summary of some common characteristics of the same field (that is, the field of silent music) and the particularity of his own work.
The first time I watched this movie was a year ago, the soundtrack was still a traditional silent Soundtrack (although I felt that there were some innovative measures to match the horror film and expressionist temperament), but it was brilliant enough. I'm looking forward to seeing Mr. Thunus' work when it's time to feel more wonderful for the unity in it.
Leave feedback in the English or Chinese "dialogue with Didier" column, or leave a message under the video page of YT website, It's a good thing to promote communication. I will definitely do it very seriously. However, due to some reasons, I can watch his video and write a message until the first or middle of March
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02 CN 发帖由谦理 (齐千里) 20200214
http://qilingren80.150.zitian.net.cn/yyx8/index.php/Content/220.html
首先向韩老师及迪迪埃先生致以崇高的敬意,作为一个莫里康内粉丝,非常感谢你们一直以来的贡献。
说老实话,本人对《诺斯法拉图》的音乐没有什么特别的研究,也没有资格和韩老师及迪迪埃先生就此事对话交流。所以只能先去重温了一下这部传世经典,并在这里谈谈茂瑙其人及《诺斯法拉图》这部电影(当然,其实也是最基本的常识及一些陈词滥调),算作是面向不太了解德国表现主义电影与茂瑙的莫迷的介绍补充。
20世纪初的艺术世界,无疑是十分精彩的,在古典到现代转向的过程中,人们的生活方式与思维方式都经历了翻天覆地的改变。艺术的边界不断被拓宽,各种新的思潮、流派甚至是新的艺术形式不断涌现,德国表现主义电影便是在这一时期走上历史舞台。不同于法国的印象派电影直接继承自法国印象派画家(大多是印象派画家进军电影界),德国表现主义电影与贝克曼、康定斯基等为代表的绘画界的德国表现主义没有直接关系,但他们都有共同的精神思想来源,如尼采的酒神哲学、伯格森的直觉主义、弗洛伊德的精神分析以及斯特纳的神秘主义等。
在我看来,德国表现主义电影早期发展史上的第一个真正的高峰。因为德国表现主义电影潮流不仅诞生了诸如卡里加里博士、大都会、浮士德等一系列名作,同时也涌现了弗里茨•朗、茂瑙、维内、梅育、莱尼等一大批杰出的电影人,更重要的是,德国表现主义中真正赋予了电影以内心世界与画面造型,为电影拓宽了未来发展之路,与苏联的蒙太奇共同构成了现代电影的基础。
在德国表现主义所涌现的一批大师中,茂瑙在大众中的名气可能不如弗里茨朗,又不像维内一样具有开创性意义,但他是被公认的最天才的一位,他是一位天生的电影场面调度大师,他让我第一次感觉到,技术甚至剧本,是无法限制一个天才创作出传世经典的,几乎每一部他的电影都有一些能流芳影史的与众不同的独具匠心的创造。在我眼中整个电影史上能做到这点的导演,仅有六位:茂瑙、爱森斯坦、奥逊威尔斯、希区柯克、费里尼、黑泽明。请注意,我将茂瑙放在这个名单中,绝不是想利用其它几位的名气来“扶持”茂瑙,即使在这六位中,茂瑙也是熠熠生辉的具有开创性的第一个,在这六名伟大的导演中,除爱森斯坦外的其他四人都或多或少的受到了茂瑙的影响,甚至可以说是茂瑙的门徒,希区柯克更是茂瑙的直传弟子。
我是希区柯克的狂热粉丝,直言不讳地说,我第一次听到茂瑙这个名字便是从希区柯克的传记中。希区柯克在1925年拍完自己的处女作后就前往德国观摩学习茂瑙的拍摄工作,并成为了茂瑙的助手之一,在结束了这段愉快的生涯后,他拍出了自己的成名作《房客》,这部房客也成为了奠定希区柯克个人风格的一部作品。我们回看《房客》,简直可以将其视为一部德国表现主义电影,无论是故事题材、摄影角度、化妆布景、光影构图等,都深深地受到了茂瑙的影响。希区柯克的可以说是一个内向之人,他常常将自己的内心世界隐藏起来,隐瞒自己的感情,在工作之外避免和其他电影人有过深的交往与接触,也总是吝惜于评价他人,但他无论是在私下还是公共场合,都毫不掩饰地盛赞茂瑙,并称他是从茂瑙那里“学会了如何不用语言讲故事。”
回到《诺斯法拉图》,可以说它是一部非典型的德国表现主义电影,茂瑙并没有采用表现主义电影的布景技巧拍摄《诺斯法拉图》,他放弃摄影棚,采用实景拍摄,这和当时在德国盛行的表现主义电影在表现手法上几乎是背道而驰的。在拍摄过程中他始终只使用一台摄像机,创造性地采用“移动摄影”的方式。“移动摄影”和实景拍摄,这被认为是茂瑙的导演风格。哈克前往德古拉的城堡这段旅程相当写实,景色优美,将人物放到空旷的自然中,茂瑙喜欢用远焦距摄影,通过石头、风中摇曳的树木和绵延的地平线传递出大自然孤独神秘的美,这种奇特的对称美与表现主义原则背道而驰。茂瑙非常注重运用阴影来表现主题,他认为电影是阴影的艺术,通过阴影,黑暗隐形的力量变为可见。而在欧洛克的城堡里,狭窄的空间内,连阴影都显得张牙舞爪,这的确是表现主义电影常见的影像风格,但是在茂瑙的镜头下,却将拱廊、楼梯处理得颇具哥特式喻意。这种拍摄手法在其后的德古拉影片中反复重现。
谈完电影拍摄本身,来谈谈背后的故事。《诺斯法拉图》可谓是神秘主义者的电影圣经,本片的艺术指导是格尔奥,为每一幕情节都画了初稿。他本人就是神秘组织的成员,故而参照一些魔鬼的插图塑造了银幕上我们看到的茂瑙的吸血鬼。例如,欧洛克伯爵和伦敦的房地产商来往的加密信是格尔奥从“东方神殿”教获得的灵感,并结合了捷克斯洛伐克封建领主的密令以及他和特兰克尔出版的魔法书籍的内容,那是玫瑰十字会体系第八级的密码。电影制作者的这种强烈的缺失性体验,从艺术创作理论的角度来看,会导致异常认知,从而形成特殊的创作动因。神秘主义体验是超验的,显然与无意识有关。影片淡化了宗教意识,取而代之的是一种神秘之美的挖掘与展现,通过一个从棺材里爬出的吸血鬼,集中表现了吸血鬼恐怖的一面,透过阴影,让我们看到平常之物中存在的神秘。这一深层原因导致《诺斯法拉图》有着深厚的文化底蕴可供挖掘。除此之外,男主施莱克也颇具神秘感,他的表演可谓是斯坦尼斯拉夫斯基体验派“双重生活”的最好诠释,其让自己活在黑暗阴影之中,完美为我们呈现了一个吸血鬼真正应该拥有的特质。甚至因为这部电影而产生了一个广泛流传的传言,认为男主角本身就是一个吸血鬼。这怕是对一个演员最好的赞赏了。其吸血鬼虽然在知名度上不及贝拉路勾西,但已然超凡入圣,成为了电影史上有关怪物最伟大的表演之一。
不知不觉已写了不少毫无营养的废话,想想还是等到2022年诺斯法拉图百年纪念时,我尽量多翻阅一些资料重新写一篇可入眼的文章争取发表。作为一个怀旧的人,非常感谢韩老师和迪迪埃先生让我回忆起高中暑假在床头翻看希区柯克传记初识茂瑙时的情景,并允许我再次向二位一直以来的奉献表示最衷心的赞赏与感谢。
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02 EN Posted by Qianli-Qi 20200214
http://qilingren80.150.zitian.net.cn/yyx8/index.php/Content/220.html
Below is Baidu online auto translation:
First of all, I would like to pay high tribute to Mr. Han and Mr. Didier. As a Morricone fan, thank you very much for your contribution.
To be honest, I don't have any special research on the music of Nosferatu, and I'm not qualified to talk with Mr. Han and Mr. Didier about it. So I have to review this classic, and talk about the Murnau and the movie "Nosferatu" (of course, it is also the most basic common sense and some cliches), which is a supplement for Mo fan who doesn't know much about German expressionist films and Murnau.
The art world at the beginning of the 20th century is undoubtedly very wonderful. In the process of classical to modern transformation, people's way of life and way of thinking have undergone tremendous changes. The boundary of art has been widened constantly, and various new thoughts, schools and even new art forms have emerged constantly. The German Expressionism films came to the stage of history in this period. Different from French Impressionist films, which are directly inherited from French Impressionist painters (mostly Impressionist painters entering the film industry), German expressionist films have no direct relationship with German Expressionism represented by Beckman and Kandinsky, but they all share the same spiritual sources, such as Nietzsche's Dionysian philosophy, Bergson's intuitionism and Freud's Psychoanalysis and Steiner's mysticism.
In my opinion, the first real peak in the early development history of German expressionist films. Because the German Expressionism film trend not only gave birth to a series of masterpieces such as Dr. carrigary, MetLife and Faust, but also emerged a large number of outstanding filmmakers such as Fritz Lang, Murnau, Verne, Meiyu and Lenny. What's more, the German Expressionism really endows the film with inner world and picture modeling, which widens the future development of the film Lu, together with montage of the Soviet Union, forms the foundation of modern film.
Among a group of masters emerging from German Expressionism, Murnau may not be as famous as Fritz Lang in the public, nor as groundbreaking as Verne, but he is recognized as the most talented one. He is a born master of film scene scheduling. For the first time, he made me feel that technology and even script can not limit a genius to create handed down classics Each of his films has some unique and original creation that can make the film history of Liufang. In my eyes, there are only six directors who can do this in the whole film history: Murnau, Eisenstein, Orson wells, Hitchcock, Fellini and Kurosawa. Please note that when I put Murnau on this list, I don't want to "support" Murnau with the fame of several other people. Even among these six people, Murnau is also the first one with brilliant creativity. Among these six great directors, four other people, except Eisenstein, are more or less influenced by Murnau, or even his disciples, Hitchcock Ke is a direct disciple of Murnau.
I'm a big fan of Hitchcock. Frankly speaking, the first time I heard the name "Murnau" was from Hitchcock's biography. Hitchcock went to Germany to observe and study the shooting work of Murnau after shooting his first work in 1925, and became one of Murnau's assistants. After finishing this happy career, he made his famous work "tenant", which also became a work that laid the foundation of his personal style. When we look back at "the tenant", we can almost regard it as a German expressionist film, which has been deeply influenced by Murnau in terms of story theme, photography angle, makeup setting, light and shadow composition, etc. Hitchcock can be said to be an introvert. He often hides his inner world, conceals his feelings, avoids deep contacts and contacts with other filmmakers outside his work, and is always reluctant to evaluate others. However, he speaks highly of Murnau in both private and public occasions, and says that he "learned how not to" from Murnau Tell stories in words. "
Back to Nosferatu, it can be said that it is an atypical German expressionist film. Murnau did not use the setting technique of expressionist film to shoot Nosferatu. He gave up the studio and used live shooting, which was almost contrary to the prevailing expressionist film in Germany at that time. In the process of shooting, he always uses only one camera and creatively adopts the way of "mobile photography". "Mobile photography" and live shooting are considered to be Murnau's directing style. Huck's journey to the castle of Dracula is quite realistic and beautiful. He places his characters in the open nature. Murnau likes to take pictures with far focus. Through the rocks, the trees swaying in the wind and the continuous horizon, he conveys the lonely and mysterious beauty of nature. This peculiar praise for beauty runs counter to the principle of Expressionism. Murnau attaches great importance to the use of shadow to express the theme. He believes that film is the art of shadow. Through shadow, the invisible power of darkness becomes visible. In the castle of ouloc, in the narrow space, even the shadow seems to be dancing, which is indeed the common image style of expressionism movies, but under the lens of Murnau, the arcades and stairs are treated with Gothic metaphor. This technique was repeated in the subsequent Dracula films.
After talking about the film itself, let's talk about the story behind it. Norsferatu is the film Bible of mystics. The artistic direction of this film is Golog, who has drawn the first draft for each scene. He is a member of the mysterious organization, so he created the vampire we saw on the screen with reference to some devil illustrations. For example, the encrypted letters between Earl O'Rourke and real estate developers in London are the inspiration of Gelo from the "Oriental Temple" religion, and combine the secret orders of the feudal lords of Czechoslovakia and the contents of magic books published by him and trankel, which is the eighth level password of the Rose Cross Society system. From the perspective of art creation theory, this kind of intense lack experience of film makers will lead to abnormal cognition, thus forming a special creative motivation. The experience of mysticism is transcendental, obviously related to unconsciousness. Instead of religious consciousness, the film is a kind of mysterious beauty excavation and display. Through a vampire crawling out of the coffin, it focuses on the horror of the vampire. Through the shadow, we can see the mystery in the ordinary things. This deep-seated reason leads to the profound cultural background of Nosferatu. In addition, Shrek is also mysterious. His performance is the best interpretation of "double life" of Stanislavsky experiential school, which makes him live in the dark shadow and perfectly presents us the characteristics that a vampire really should have. Even because of the movie, there is a widespread rumor that the hero himself is a vampire. It's probably the best compliment to an actor. Although its vampire is not as famous as Bella rugosi, it has become one of the greatest performances about monsters in the history of film.
Unconsciously, I have written a lot of nonsense without nutrition. I think it's better to wait until 2022, when the centenary of Nosferatu is commemorated, I try to read more materials and re write an eye-catching article for publication. As a nostalgic person, I'd like to thank Mr. Han and Mr. Didier for reminding me of looking over the biography of Hitchcock at the head of my bed during the summer vacation in high school and getting to know Murnau, and allow me to once again express my heartfelt appreciation and thanks for their dedication
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03 CN 电邮来自杨坤 20200216
首先很抱歉,才回复您的邮件,之前一直在忙碌自己的剧本,一直没有打开邮件。经您微信提醒,才连之前的邮件一并看了。昨天中午一天的时间,我一直在咱们的网站里,看迪迪埃和您的信息往来,还有他为《诺斯费拉图》这部影片配乐的过程。在看完这些信息后,我才下载了这部影片,打算认真看一看。《诺斯费拉图》这部电影,早在我上大学的时候就看了,这几乎是电影人必看的影片之一,也是北京电影学院导演系必看的影片之一,因我曾经报考过北电,所以对于这些影史上有巨大影响力的影片几乎大多都看过。若不是您来邮件,我几乎都快忘了这部电影。那时候看《诺斯费拉图》,的确是默片,诚实地说,当时看这部电影,并没有给我留下很深的印象,可能因为年代久远的缘故,对于我们这些年轻人来说,观影体验上并不十分好。但是后来,您也知道,我几乎一直从事于电影工作,经过了三年多的学习,实践,在看了更多的影片后,对电影的认识也有了一定的提高,也把曾经看过的一些默片重新温故了一遍,恰在这个时候,您也把这部重新配乐的《菲斯诺拉图》分享了过来,这让我十分期待。
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在正式看这部重新配乐的《菲斯诺拉图》之前,我先是又看了一遍它的无声版本,因为我必须得了解,在无声情况之下,它的影片内容和精神,因为i这是这部影片最初的样子。把握住其无声版本的感觉,我才能去看迪迪埃先生的配乐版。在看无声版的整个过程,是我这些日子以来最享受的一次观影体验,因为我无时无刻不在好奇,一些我感兴趣的段落,迪迪埃会为它什么样的音乐,实际上我内心也多少涌现出了一些隐约的旋律。比如在影片14分钟之后的旅途情节,还比如吸血鬼第一次出现的情节等,在看这些情节的时候,我心里已经有了音乐。
在看完无声版后,我才打开迪迪埃先生的配乐版,充满期待。影片的开场音乐就让我惊讶不已,我想说,开场音乐非常的符合影片的整体气质,非常适合用于开场,作为定场音乐,让我对接下来的所有情节和音乐都充满了期待,完全想不到这些音乐是他通过软件合成而成,我本来以为音乐应该很简单,没想到,做得很丰富。就音乐性而言,是我近些日子看过的电影里,音乐性最好的,这是我没想到的,我没想到他能做到这么好,影片整体的音乐气氛始终保持着一致性,能听到一些主旋律的变奏,也能听到完全不同旋律的旋律,但好在它们始终在一个整体里。一开始我很担心音乐的段落性太明显,但显然,这个问题不存在,连贯性非常好。我尤其感兴趣的“旅途”一节的音乐,让我大感意外,和我脑海里的旋律完全不同,在听完他配乐的旅途后,我已经忘了自己的旋律,我特别喜欢旅途这段配乐,还有“返乡”,“城堡的早晨”,“恢复”,等几个情节主题,尤其是旅途,我觉得这是一段非常杰出的配乐,是我喜欢的音乐风格和表达方式。当然,我相信韩老师也听得出来,迪迪埃的音乐创作深受莫里康内的影响,音乐的表达上有特别不拘一格之处,但也能听出来他自己特有的音乐素养,这种音乐素养应该是有大量的古典音乐和实验音乐打底的,令人倾佩。
当然,我还要说出一些我个人稍稍觉得不足之处,我觉得音乐在整个影片当中铺得太满了,太满的话,会使得整部影片像一部98分钟的音乐视频,类似于mv一样,音乐过于喧宾夺主。而且这部影片本身自己并没有音效,就使得音乐比较单调,影片的整体音响效果会差一点,如果迪迪埃先生能为影片当中的一些人物动作,关键细节,配上音效,让影片更具有现实感,再有音乐的辅助,我相信影片一定会更加出色。现在的配乐版本里,音乐的主观性过多了,这是我自己的一点看法。我不知道韩老师有没有看过汉斯季莫配乐的《敦刻尔克》,在《敦刻尔克》里,汉斯季莫被诟病配乐太满,当然也可能是导演的意思,不过《敦刻尔克》有音响音效,这使得音乐不会喧宾夺主,而在迪迪埃的《菲斯拉诺图》里,现实音响肯定没法做到,这个很难,所以我觉得需要多少减少音乐的表达,才能让影片的画面信息更好的被观众领悟,然后音乐再以润物细无声的方式演进,会更好一些。另外,影片里头音乐有时候出现和结束稍显唐突,当然这还是因为影片本身就没有现实音响的缘故。另外一点,一些音乐主题的衔太过密集,每每一个情节的音乐结束,下一个情节开始的时候,音乐也就开始了。可能这些正是迪迪埃先生本来的意思,他就想用音乐来叙事,我希望有空和他邮件咨询,到时候请教这个问题,如果他是要用音乐来叙事的话,那么整部影片的音乐都是成立的,毫无问题,而且非常杰出。
我之所以,这么晚给你写信,实际上,我已经把这部影片的音乐听了很多遍,现在我仍旧在听这部影片的音乐,我的电脑在播放,放到了最小化,仅仅是听音乐。我觉得音乐非常好,也非常期待到时候,能跟迪迪埃取得一两个音乐音轨,作为保存。因为我的确很喜欢其中的某一些主题。
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03 EN Email from Kun-Yang 20200216
Below is Baidu online auto translation
First of all, I'm sorry to reply to your email. I've been busy with my script and haven't opened the email. After your wechat reminder, I read the previous email together. I was on our website one day yesterday at noon, watching Didier's information exchange with you and the process of his soundtrack for the film " Nosferatu". After reading the information, I downloaded the film, intending to watch it carefully. Norsferatu was a movie that I saw as early as I was in college. It's almost one of the films that filmmakers must see, and also one of the films that the director department of Beijing Film Academy must see. Because I once applied for the examination of Nortel, almost all of the films with great influence in the film history have been seen. But for your email, I would have almost forgotten the movie. At that time, it was a silent film. To be honest, I didn't get a deep impression from watching this movie at that time. Maybe because of the age, the experience of watching movies was not very good for us young people. But later, as you know, I have been engaged in film work almost all the time. After more than three years of study and practice, I have improved my understanding of the film and relived some silent films I have seen. Just then, you also shared this new soundtrack " Nosferatu", which made me very interested Stay.
I watched the soundless version before I officially watched the new re-scored “Nosferatu”, because I had to understand the content and spirit of the film in the case of silence, because I was the original appearance of the film. I can only see Mr. Didier's soundtrack version if I grasp the feeling of his silent version. The whole process of watching the silent version is the most enjoyable movie watching experience I have enjoyed these days, because I am always curious about some passages I am interested in, what kind of music Didier will play for it, and in fact, some faint melody has emerged in my heart. For example, the plot of the journey 14 minutes later in the film, the plot of the first appearance of vampire, etc. when watching these plots, I had music in my heart.
After watching the silent version, I opened Mr. Didier's soundtrack version, full of expectation. I am surprised by the opening music of the film. I want to say that the opening music is very consistent with the overall temperament of the film, and is very suitable for the opening. As a set music, I am full of expectations for all the plots and music I've docked down. I can't imagine that the music is synthesized by him through software. I thought that the music should be very simple, unexpected, and rich. As far as musicality is concerned, it's the best movie I've seen in recent days, which I didn't expect. I didn't expect that he could do so well. The overall music atmosphere of the movie has always been consistent, and I can hear some variations of the main melody, and also completely different melody, but the good thing is that they are always in one whole. At first, I was worried that the paragraph of music was too obvious, but obviously, this problem did not exist, and the continuity was very good. The music of the "journey" section that I am particularly interested in surprises me. It's totally different from the melody in my mind. After listening to his soundtrack, I have forgotten my own melody. I especially like the soundtrack of the journey, including "return home", "Castle morning", "recovery", and other plot themes, especially the journey. I think it's a very outstanding one The soundtrack is my favorite music style and expression. Of course, I believe Mr. Han can also hear that Didier's music creation is deeply influenced by Morricone, and his music expression is particularly informal, but he can also hear his own unique music literacy, which should be based on a large number of classical music and practical music, which is admirable.
Of course, I would also like to say some shortcomings. I think that music is too full in the whole movie. If it is too full, it will make the whole movie like a 98 minute music video, similar to the MV, and the music is too noisy. Moreover, the film itself has no sound effect, which makes the music monotonous. The overall sound effect of the film will be a little bit worse. If Mr. Didier can provide some of the characters in the film with actions, key details and sound effects, making the film more realistic, and with the help of music, I believe that the film will be better. In the current soundtrack version, the subjectivity of music is too much, which is my own point of view. I don't know if Mr. Han has ever seen Dunkirk, the soundtrack of hanstimo. In Dunkirk, hanstimo is criticized as too full of soundtrack, which may be the meaning of the director. However, Dunkirk has sound effect, which makes the music won't win. In fislanotou, Didier's realistic sound can't be achieved, which is very difficult, So I think it's necessary to reduce the expression of music so that the picture information of the film can be better understood by the audience, and then the music will evolve in the way of moistening things silently, which will be better. In addition, the music in the film sometimes appears and ends abruptly, of course, because there is no realistic sound in the film itself. On the other hand, the titles of some music themes are too dense. When the music of each plot ends and the next plot begins, the music begins. Maybe this is exactly what Mr. Didier originally meant. He wants to use music to narrate. I hope to consult with him by email when I have time. Then I will ask this question. If he wants to use music to narrate, then the music of the whole film is established, no problem, and very outstanding.
The reason why I wrote to you so late, in fact, I've listened to the music of this film many times. Now I'm still listening to the music of this film. My computer is playing, to the minimum, just listening to the music. I think the music is very good, and I'm looking forward to getting one or two music tracks from Didier as preservation. Because I really like some of them.
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04 CN 微信朋友圈 马涌 20200211
你好。昨晚和刚才的邮件已收悉。
有关迪迪埃先生的新作我正在熟悉中,因对影片不了解,我需要花点功夫深入一下。谢谢你向他介绍了网易云音乐的情况,我会在适当的时候与他联系。
疫情当前,因延迟复工时间,我仍待在家时,译了一篇《音乐大师》第18期的文章《重现》(已发在论坛中)。
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04 EN Chinese Wechat by Yong-Ma 20200211
Below is Baidu online auto translation
Hello. I have received the emails last night and just now.
I'm getting familiar with Mr. Didier's new work. I don't know about the film, so I need to work on it. Thank you for introducing Netease cloud music to him. I will contact him at the right time.
At present, due to the delay in returning to work, I was still stay at home and translated an article "Recurrences" (which has been published in the forum) in the 18th issue of "MAESTRO".
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全文完 欢迎各位爱好者继续发帖参与评论共享
最后更新于 2020-02-24 17:14:24

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