Oscar-nominated Music Helps Movies Soar
奥斯卡提名配乐使电影锦上添花
Most people consider film to be purely visual. Yet a movie's music, or score, plays a key role in conveying the work’s message.
大多数人认为电影是纯粹的视觉享受。然而一部电影的音乐,或是配乐,在传达电影作品的信息上起到了重要作用。
Joseph Rivers, who teaches film studies and music at the University of Tulsa in Oklahoma, says the musical theme for director Stephen Spielberg's "War Horse," the epic that opens in rural England, is a good example of the way music can enhance the audience experience of a place.
在俄克拉何马州的塔尔萨大学教授电影研究及音乐的约瑟?里佛斯表示导演史蒂芬?斯皮尔伯格以音乐为主题的电影《战马》中,史诗从英格兰乡村拉开帷幕,这是音乐可以提高观众经历这个地方很好的例子。
“With "War Horse," this is done through sustained harmonies, broad sweeping orchestrations, sweeping melodic lines, or even with folk-like melodies imposed on the harmonies."
“在《战马》中,有持续的和弦、悠扬的管弦乐、旋律感极强的台词,甚至民俗风格也加入到了这段音乐的旋律中。”
Five-time Oscar winner John Williams composed the music for "War Horse," one of the five nominees for best score.
五届奥斯卡奖得主约翰?威廉姆斯负责为《战马》谱曲，它被评为五部最佳配乐电影其中的一部。
Williams garnered another bestsScore nomination for "The Adventures of Tintin," an animated blockbuster based on a Belgian comics series.
威廉姆斯的另一部得到最佳配乐提名的电影是《丁丁历险记》,这是基于比利时漫画系列的一部动画大片。
For Daniel Carlin, chairman of the film scoring department at the Berklee College of Music, nail biting excitement is the key to Tintin’s success.
伯克利音乐学院电影配乐部门主席丹尼尔?卡林表示那种扣人心弦的紧张兴奋感才是《丁丁》成功的关键。
“John is a master at the use of space," Carlin says. "He'll leave a bit of a hole for the sound of gunshot or a hit to a face or a crash, and then he’ll come in with a statement rather than, as many composers do, try to compete with the sound. I personally felt that "Tintin" was a more successful score than "War Horse."
“约翰是一位使用空间的大师,”卡林说道。“他会给枪击，打到脸或碰撞等等各种声音留下一种空间,稍后他才会进行释放，而不是像许多作曲家做的那样试图与这种声音竞争。我个人觉得《丁丁》的配乐比《战马》更上一层楼。
Alberto Iglesias composed the score for "Tinker, Tailor, Soldier, Spy."
阿尔贝托?拉西亚斯则负责为电影《锅匠、裁缝、士兵,间谍》配乐。
For Rivers, the artful way that Iglesias conveyed Cold War suspense and intrigue is what earned him his Oscar nomination. “I think he does an excellent job of setting the atmosphere.”
对于里佛斯而言,拉西亚斯用艺术表达冷战悬疑和阴谋的方式使他赢得了奥斯卡提名。“我认为他在设定氛围的把握上非常出色。”
Sometimes, highbrow musical ideas can be used to good effect by Hollywood, as in the case of "Hugo."
有时,高雅的音乐理念可以在好莱坞收到良好的效果,电影《雨果》就是这样的写照。
Film composer Wendy Blackstone has scored for eight Oscar nominees over the years. She hears echoes of minimalism in Howard Shore’s score for “Hugo,” an adventure drama about a boy living in a Paris train station.
电影作曲家温迪?布莱克斯通在数年间已经赢得了8届奥斯卡提名。她听着在霍华德?肖尔为电影《雨果》配乐中的极简主义的回响,这是关于一个男孩在巴黎火车站的冒险故事。
“It has repetitive clauses in it that give a lulling kind of center to it which we can attribute to Terry Riley, Philip Glass and these forerunners of that kind of music," Blackstone says.
“它的不断重复给人一种中心的间歇感觉,我们可以归结到特里?菲利普，莱利?格拉斯特里和这些先驱者的那种音乐。”布莱克斯通说道。
Whatever the composer's style, it must always serve the director’s vision.
不管作曲家的风格如何,它必须忠于导演想要表达的视觉效果。
“There are moments when the music can shine," Blackstone says. "But then there are moments when it should be out of the way and felt not heard."
“总会有这样的时刻:音乐也会闪光，”布莱克斯通说道。“但是也有那样的时候,音乐好像完全就没有关系，并且好像没有听到。”
Many critics believe French composer Ludovic Bource is the odds-on favorite to win best score for “The Artist.” It’s a mostly silent film, set during the late 1920s and early '30s, when silent films were giving way to the talkies.
许多评论家相信法国作曲家卢德维奇?博思配乐的电影《艺术家》会轻松摘取获得最佳配乐奖。这几乎是一部无声电影,在19世纪20年代后期，30年代早期期间上映。
Bource's score runs the emotional gamut.
博思的配乐运用了情感音域。
For Berklee's Daniel Carlin, "The Artist" is a film composer's dream.
伯克利音乐学院的丹尼尔?卡林指出,《艺术家》是一部关于作曲家梦想的电影。
“I mean there are plenty of people that would have done this project for free if they'd been given the opportunity. You are not worried about dialogue or train wrecks or gunshots or door slams or car squeals. None of that stuff," Carlin says. "But it also makes one fully exposed. It doesn’t leave much room for error or padding. And I felt that this composer did a very diligent job of not taking shortcuts, of giving every scene its due, of somehow staying within that period without making it sound like we are listening to old music.”
“我的意思是有很多人如果得到机会，都会做这个项目。你不必担心对话声，火车出轨声，枪声，关门声或汽车的尖锐声音。根本没有这些事,”卡林说道。“但它使其中的一个部分完全暴露，并发挥到了极致。它没有给错误或填充物留下任何空间。我觉得这是作曲家非常勤奋工作的体现，他不走捷径,赋予每个场景理想的音乐,并且想方设法不让我们像在听老音乐”。
All of the nominees will have to wait until Feb. 26, to learn who will score the “Best Score” Oscar.
奥斯卡最佳配乐奖将在2月26日揭晓。 |