原标题：电影音乐，有时决定着电影成功与否

本文选自微信公众号【音享】，微信号（yinxiangmusic)

像 Jerry Goldsmith, John Williams, Sean Callery, Don Davis 等等，其实和贝多芬，莫扎特，马勒等一样是应该不容小觑的。我强烈地认为电影音乐应该出现在更多样以及更大的音乐厅内，这样受众们才能感受到电影的重要一面。曾经一位非常著名的电影导演说“电影的成功75%应该归功于音乐”，这是很重要的事实！

Michael Kirby, 国际电影音乐协会（IFMS）主席，澳门管弦乐团首席单簧管演奏家；原西班牙 Tenerife Symphony Orchestra 首席单簧管演奏家， Conservatorio de Música of Tenerife 音乐学院教授；

作为音乐活动家，同时担任 Tenerife 电影音乐交响乐团以及 Tenerife 电影音乐节的联合创始人、经理；

和古典音乐的区别是什么？制作电影音乐的流程是什么？

What's the difference between flm music & traditional classic music? Could you tell us what is the process for making a film music?

电影音乐和古典音乐之间没有区别，都有同样的根基。电影音乐可以被认为是二十世纪的歌剧，本质和其他音乐是一样的。唯一的区别是电影音乐的作曲家需要考虑电影的时间轴，这点古典音乐的额作曲家就不用考虑了，另外电影音乐作曲家需要和导演有充分的沟通，就像“手套”一样缺一不可。

另外，作曲家只有在电影拍完的时候才能真正完成整个电影音乐，在创作中必须再次查看电影的时间轴和场景镜头，好的作曲家一般来说对于电影的时间轴在心里会有概念，所以在创造中没有太大压力，这是非常厉害的能力，同时音乐能够完全匹配电影的情节也是很不容易的，能完全衬托电影气氛的音乐属于“瑰宝”级别。

当电影音乐创作出来后并不意味着作曲家的工作就完成了，音乐还需要被导演二次审核，许多时候作曲家都要根据导演的要求再次做修改。这是一个漫长和复杂的过程，当然有时候被导演拒绝对作曲家来说也是会比较沮丧。

当然也有很多导演和作曲家配合非常默契、相互信任的例子，比如作曲家 John Williams和导演 Steven Spielberg. 作曲家和导演的配合是非常重要的，因为电影的成功很大程度上取决于双方能否共同找到契合点来烘托电影气氛。

The difference between film music and classical music does not exist. All music comes fro the same roots. Film music could be thought of as the 20th century version of Opera but the essence of film music is the same as any other music.

A composer for films has different demands forced upon him or her as there is a time factor.

Where composers normally can compose what they want and with a duration without restrictions, a film music composer has to compose his music to fit into a time scale determined by the sketch or section of the film. Here also it is important to say that the director of the film and the composer have to have a complete understanding of each other so that the work of both fit together like a glove.

The composer can only start to truly compose the film score once the film has been made. He or she then has to watch the sequences and adapt the music to the time scale that that scene permits. This is the difference between a normal composer and that of the films. It is quite amazing to see composers working and producing some wonderful complete music that seems to be without the pressure of time. The perfect music to create the exact atmosphere needed for a section of the film is no easy task but it is achieved and we have some incredible musical jewels created under those circumstances. Once the composer has created the film score this does not mean that his or her work is finished because the music is then passed to the director of the film and a decision is made as to whether it is the appropriate music for what the director wishes to express.

Many times the composer may have to change his music to comply with the desires of the director. It is a long process and a complicated one and sometimes quite frustrating for the composer if his music is rejected or changed to suit the director. There are cases where the director has a strong partnership with the composer and the mutual understanding and trust is absolute. A perfect example of that would be between John Williams and Steven Spielberg. The relationship between the composer and the director is very important as the film itself depends greatly on them both finding the exact formula that makes the film as a whole to be great.

你怎样看中国的电影音乐市场？

What do you think about the Chinese film music?

我和谭盾合作过几次，他的音乐非常有可听性。他会有所有的可能去创造新的特别地音色来给听众不一样的体验。中国的文化和乐器博大精深，完全可以融合西方的音乐，效果也非常不错。

中国电影音乐的理念可能是人人都爱听同时都能记得的曲子，但是我觉得中国的电影音乐还有很大的可提升空间。因为中国从来都不缺天才的作曲家，所以如果电影音乐达不到好莱坞的水准是没有理由的。

这也是我们IFMS的工作的一部分，希望我们的组织能够对提高中国电影音乐做出贡献，同时让世界上更多有才华作曲家产生联系与合作。

I have worked with Tan Dun several times and his music is very interesting as he uses every possible option to make a new sound and colour to give a new experience for the listener. The Chinese instruments and culture is of great interest and one that can be incorporated into what we call western music and western instruments. The mixing of both to produce music is a very interesting one and works very well.

Maybe in China the idea of film music is that of a hit song that everybody loves and remembers but I do feel that the rest of the soundtrack of a Chinese film could be developed and enhanced more. There is no shortage of talented composers in China so there is no reason why the art of film music cannot grow to at least the level of Hollywood. This is part of the work of the IFMS and I hope that this society will be of great use to develop the art of film music composing in China and bring that talent to the rest of the world and create wonderful new collaborations.

什么促使你成立了？他的宗旨是什么？

What things makes you decided to creat IFMS? and could you simply introduce about IFMS?

我在西班牙的时候认识了一位电影音乐作曲家，当时他正努力开始他的事业，我们见面时会谈论他的音乐和电影音乐的世界，当时我十分兴奋因为这对我来说是新事物，当时我还没有意识到电影配乐的重要性。经过几年的合作之后我们成功地开始了一个电影音乐节，虽然经济上一直不宽裕，但10年时间里影响力也日益强大。

当我离开欧洲来到澳门，我看到了一个巨大的市场，几年前我安排了澳门管弦乐团与来自洛杉矶影响力首屈一指的电影音乐制作人在澳门威尼斯人酒店进行演出，效果十分成功。

不幸的是这种合作并没有持续性的做下去，所以我开始思考怎样把它变成一个定期的活动。之后我遇见了Charlie, 他对在中国建立电影音乐节很感兴趣，目前中国的电影音乐还处于起步阶段，我们希望把来自世界各地的专业电影音乐人士聚集在一起，让所有人都能交流思想形成合作关系，并提供基于电影音乐的教育经验。

IFMS的想法是通过不同国家电影音乐作曲家和参与者之间的联系，为世界各地的教育机构提供新的机会，并通过大师班和论坛交流向世界表明无论国籍和信仰我们都可以一起协作来实现美好的音乐，毕竟音乐是没有障碍的通用语言。

目前我们正在寻找各个国家的代表加入我们并带来他们的音乐，以便我们可以为亚洲以及世界其他国家提供音乐的不同想法。

我相信，每个国家都有璀璨的文化，我们通过不同文化的结合可以创造出令人难以置信的美好结果。

现在很多人认为电影音乐太过娱乐性和易表演性，但其实并不是这样。通过多年的参与，坦率来讲我发现这些新兴的作曲家和他们的音乐是非常出色的，也有很多辉煌的音乐组合只不过欠缺曝光而已。比如Jerry Goldsmith, John Williams, Sean Callery, Don Davis 等等，其实和贝多芬，莫扎特，马勒等一样是应该不容小觑的。我强烈地认为电影音乐应该出现在更多样以及更大的音乐厅内，这样受众们才能感受到电影的重要一面。曾经一位非常著名的电影导演说“电影的成功75%应该归功于音乐”，这是很重要的事实！

During my time in Spain I was introduced to a film music composer who was struggling to start his career so we decided to meet up and talk about his music and the world of film music. I was very impressed by the art as it was something that was new to me and of course I didn’t realise at the time the importance of the soundtrack for a film. After some years of working together and planning projects we managed to start up a film music festival that has now celebrated 10 years surviving the economic crisis and has grown from strength to strength.

When I left Europe and came to Macau, I saw an opportunity here to include an extra attraction for those who visit this place full of casinos. A few years back I managed to convince the Macau Orchestra to try out a concert of film music with the collaboration of the world’s number one recording producer of film music from Los Angeles. The concert took place at The Venetian Resort in Macau and it was a great success. Unfortunately the idea was not continued so I thought of how this could be restarted and made into a more regular permanant event. After some time, I met with Charlie Law and he showed great interest in the idea of film music concerts and also a festival in China.

Film music in China is still in its infancy and the idea that both Charlie and I had was to bring all the composers and film music professionals from all over the world together and create a family and reference point for all to meet and exchange ideas, form new collaborations and also to provide educational experiences based on the world of film music.

The IFMS was born and the idea is to create a contact between different countries through film music composers and those involved with films to provide new opportunities, new contacts, exchanges between educational institutions around the world, masterclasses with the great composers, forums to meet and listen to the professionals and above all to show the world that we can all collaborate together and achieve wonderful experiences regardless of nationality or beliefs.

Music, after all, is a universal language that has no barriers and maybe could resolve many issues and understanding that words may be found lacking. It is exciting and with Charlie I feel we have a wonderful opportunity to achieve some very positive goals.

Presently we are looking for representatives from all countries to join the IFMS to bring their music and fellow professionals and students to the Society so that we can start to work introducing new and old ideas to Asia and the rest of the world. For me, I believe that each country has so much to offer through their own culture that we could create a whole new meaning to world collaboration through the combination of different cultures to produce an incredible new experience for all. It is also an opportunity for students to discover what is going on in the world culturally and to find where they would like to study and develop their own talents.

Film music at present has the reputation of being something fun and easy to perform and is of little significance but the reality is another. Through the years that I have been involved with this art, I have discovered new composers and their music and quite frankly there are some wonderful examples of some of the most glorious music ever composed that need exposure and credit. Composers such as Jerry Goldsmith, John Williams, Sean Callery, Don Davis to name but a few are ones to be reckoned with and appreciated equally as Beethoven, Mozart, Mahler etc. I feel strongly that the music from the films should be heard and placed in the concert hall or larger venues where the public can enjoy what has been described as the most important aspect of a film.

One very famous film director described film music as being 75% of the film - it is very true !!

你最喜欢的三首电影音乐？

Could you share us three favourite film music?

Don Davis 为《黑客帝国》写的曲子是非常不可思议的，特别是里面的《Neodammerung》非常有气势；

Jerry Goldsmith写的所有曲子都非常棒，很难选出最喜欢的；

《007》系列所有的电影音乐都很不错，这是很多作曲家共同努力的结果；

The scores of Don Davis for The Matrix films is one that I find to be incredible especially the Neodammerung which is quite spectacular.

Jerry Goldsmith and all his scores are just wonderful and it would be very difficult to name just one.

The soundtracks for the James Bond films are quite incredible too and involve many different composers.

最喜欢的电影音乐作曲家？

Who is your favourite film composer and why?

Jerry Goldsmith是我最喜欢的电影作曲家因为他对的音乐掌握十分灵活，任何风格的电影都驾轻就熟，同时非常有个人风格。

I would say that Jerry Goldsmith would be my favourite because his music is so flexible. He was able to compose any style of music to fit the film and at he same time he was able to put his own signature on all that he composed.

本文选自微信公众号【音享】，微信号（yinxiangmusic)

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