星戰電影配樂作曲家訪談: A Conversation With John Williams

本文由 掌門人2016-01-12 發表於 "音樂、樂理、樂團經營" 討論區


  1. 掌門人

    掌門人 當代校長張超然

    註冊日期:
    2001-08-30
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    可能期待太高,有點怕失望。正在考慮要不要去看最新的星際大戰電影.......不知道看過的人覺得如何?

    以下是星戰電影配樂作曲家 John Williams 最近的訪談,內容包括他對電影配樂角色的看法、他的工作模式等。內容相當豐富!以下截取兩個問題。有興趣的人可以點連結看原文:

    http://www.bmi.com/special/john_williams?utm_medium=email&utm_campaign=MusicWorld January 2016&utm_content=MusicWorld January 2016 Version A CID_1dc9dcc727cc91a74345cfde08a6f73a&utm_source=Email marketing software&utm_term=A Conversation With John Williams
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    In your words, what dimension does music add to film and why do you choose this route of artistic expression?

    I think the contribution of music to film is something that is immeasurable and we really can’t quantify that. I think what we have discovered is that music and film can’t be separated. You could illustrate that by simply saying that in the silent film days, they really weren’t silent - we had a pianist or a violist or an organist playing some music so that the film was not ever truly silent.

    And some films, like Star Wars, will have music almost entirely in them. If a film is two hours long you have two hours of music. In this case, there are some minutes without it but not very many. There are other films that may have only 15 minutes of music, yet those 15 minutes are essential to the emotional connection between the audience and the story.

    I think it’s impossible ever to measure it, but music and film are sister arts that live together and depend on each other. As for why I’ve chosen this particular field, I would say initially for very practical reasons. But what’s more interesting to me is that because of this symbiotic relationship between music and film, we will continue to hear wonderful film music in the future. There will be young generations coming along, countlessly coupling audiovisuals together in imaginative ways. And we’re seeing it already.

    You know, film music is only what, 70, 80 years old? It’s in its infancy still. Initially when I went into it, I played piano in studio orchestras for a lot of very distinguished composers, and it was a natural progression for me to go from playing the piano in their orchestras to orchestrating material and finally being invited to compose scores of my own. So my own working career in practical terms and in terms of proximity, because I’ve lived in Los Angeles, drew me, I suppose, inexorably towards working in film.

    How would you say your creative process has evolved throughout your career? Has it changed for you throughout the years?

    I don’t think so. I think to a degree, I feel unchanged, but on the other hand, to be unchanged is to be unimproved. I’d like to think that now I probably know more about music and certainly about conducting because I conducted so many years with the Boston Pops Orchestra. I did so much live performance, especially in Boston but also elsewhere, that I began to have a different, and maybe more sophisticated, feeling about the orchestra and its way of breathing, its way of moving and so on. And that’s a subtle thing but I think I’m, in my mind as I am writing, much more of a conductor than I was before.

    I still use the piano, I still use a pencil and paper; I have not evolved to the point where I use computers and synthesizers. First of all, they didn’t exist when I was studying music and luckily, mercifully, I have been so busy in the interim years that I haven’t had time to go back and retool. And so my evolution, in very practical terms, i.e. piano and pencil and paper, has not changed at all.
     

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