配乐大师：约翰·威廉姆斯（2024）

And one week it's a western, the next week it's a comedy,
再下一週是某个戏剧
the next week it's some drama.
你能想像到的一切
Every possible thing you can imagine
都是出于后来执导剧情片的导演之手
done by directors who went on to do feature films.
薛尼波拉克、迪克唐纳和劳勃阿特曼
Syd Pollack and Dick Donner and Robert Altman.
他主要都是在福斯影片工作
He mostly worked at Fox,
但他也经常週末在家工作
but he would work at home a lot on the weekends.
而且总是在写东西
And he was always scribbling away.
有一次他在谱曲 我写了字条给他,上面写
One time he was writing and I wrote him a note saying,
“你一定要出来找我,处理这件事”
"You gotta come out and see me and attend to this."
我把它塞进门缝下,然后他就生气了
And I pushed it under the door and that made him mad.
在1960年代,比起在家工作 我更常在片厂工作
In the '60s, I worked at the studios more than I did at home
原因很简单
for a very practical reason.
我的孩子都还很小
My children were very young
家裡有太多噪音和令人分心的事情
and there was a lot of noise and distraction around the house.
在创作时很难有隔绝外界和独处的机会
And hard to achieve the kind of isolation and solitude you need to be composing.
所以我会去环球影业的片厂
So, I'd come in to Universal
或是自己服务很久的福斯制片厂
or go to Fox Studios, where I worked for a long time,
我不是员工 只是一个来了就不走的访客而已
not as an employee but just as a sort of man who came to dinner and stayed.
为《星球大战》写配乐的人...
The fact that the same man wrote the score for Star Wars
(JJ亚伯拉罕) (电影制♥作♥人)
...也写过《吉利根岛》的配乐,这件事
and also wrote music for Gilligan's Island
足以证明他无边无际的创作范围
gives you his vast and seemingly limitless range.
去拿那根杆子
You get that pole!
知道了,船长
Aye, aye, sir.
(196♥4♥年《吉利根岛》,约翰李奇执导)
船长,这根如何?
How about this one, Skipper?
很好,快拿过来
Perfect. Now get it in here!
马上来
On the double.
当时我们全家人在夏威夷度假
We were in Hawaii on a family vacation
他买♥♥了一把乌克丽丽
and he got a ukulele.
当时他的工作是要写 《太空迷航》的新主题曲
And his assignment was he was supposed to write a new theme for Lost in Space.
所以他就用乌克丽丽写电视剧主题曲
So he wrote the theme for the TV show on the ukulele.
(1967年《太空迷航》主题曲)
这都是当时的工作机会 以这个例子来说就是在二十世纪福斯影片
These were opportunities to work for, in this case, 20th Century Fox,
我在那裡成为莱诺纽曼的朋友
where I formed a friendship with Lionel Newman.
如果当时我没踏进电视圈
And if I hadn't made the step into television,
就没有后来为剧情片写配乐的机会
I wouldn't have had the opportunity later to do feature films.
(《痴凤颠凰》)
约翰,他们给你多少钱?上面写什麽?
How much did they pay you, John? What does it say there?
一万两千五百元
$12,500.
(196♥4♥年约翰威廉斯的僱用信)
是一週的薪水吗?
Ooh, for a week?
是十週的薪水,真糟糕
For ten weeks! Oh, no.
(《偷龙转凤》)
我一度做过很多喜剧的配乐
I did a lot of comedies at one point,
以致于我不太想再碰触喜剧
and I really felt, ugh, I don't want to do another comedy.
(《窃玉偷香》)
我的一位老同事打给我
An older colleague of mine called me
他说:“约翰,如果你要创作电影配乐
and he said, "John, if you're going to be composing music for film,
让自己的名字被放上大银幕的话
when they're going to put your name on the film,
就不能叫强尼,这名字适合年轻人
and it can't be Johnny. That's a fine name for a juvenile person
但你得改名,你要叫约翰威廉斯”
but you have to change your name. You have to be John Williams."
其实我认为他说得没错
So I-I actually... I thought he was right.
如果我有钱
♪ If I were a rich man ♪
(1971年《屋顶上的提琴手》 诺曼杰维逊执导)
♪ Ya ba dibba dibba Dibba dibba dibba dibba dum ♪
整天我就閒閒没事做
如果我有钱
我...
(《屋顶上的提琴手》...一项传统)
最早的大制♥作♥电影其实是音乐剧
The first really major budget films were musicals,
当时我身兼编曲者和管絃乐手
in which case, I was arranger, orchestrator,
以及音乐总监和乐团指挥
but also music director and conductor.
我们需要录制各式各样的 合唱歌♥曲、儿歌♥和管絃乐曲
We needed to have choral tracks, children tracks, orchestra tracks of all kinds.
发音时每个咬字都要清晰 就算是合唱也一样
And every word of the vocals had to be understood, even with a chorus.
传统,传统!
传统!
所以在这个制♥作♥过程中
So, in the manufacture of this thing,
混合所有音效、剪辑和剪接音乐
the mixing of all these sounds, the editing and cutting
就自成一门学问,对我来说是贵重的经验
is an education of its own and an enormous experience for me.
不只是对作曲家来说,还有...
Not especially as a composer, but as-as someone...
对一个专业的电影幕后人员来说也很重要
As-as a craftsman working in the process of making films.
(1969年《万世师表》 赫伯特罗斯执导)
《万世师表》
一开始这部电影的配乐 是安德烈普列文写的
Initially, the score was written by André Previn,
但安德烈和制片闹不合
but unhappiness emerged between André and the producer.
所以莱斯里布里库斯 就接手配乐,包办歌♥词和音乐
So Leslie Bricusse was engaged to do the score, both lyrics and music.
但安德烈普列文是我的心灵导师 而且非常鼓舞我
But André Previn was something of a mentor and was very encouraging to me.
他认为我不该待在好莱坞
He didn't think I should stay in Hollywood.
他说:“约翰,你想写自己的音乐 协奏曲、交响乐
He said, "John, you want to write your own music: concertos, symphonies.
就别把时间浪费在 所谓的‘商业广♥告♥’上”
Don't waste your time on so-called 'commercial work'."
坦白说,如果我有他的才华
Frankly, I thought if I had his talent,
或许我就会离开电影圈,去写交响乐
perhaps I would leave the movies and write symphonies.
但我在好莱坞并没有失去自我 我找到自我的意义
But I didn't lose myself in Hollywood. I found myself.
(1972年《海神号♥》,罗纳德尼姆执导)
这就是约翰威廉斯的厉害之处
That's the thing about John Williams.
他只要得到好的素材 总是可以更好地发挥
As good as the material he's getting, he always makes it better.
他就是有办法找到精髓
He always finds a way to tap into the essence
发现到当中的感动之处 或意义性,抑或是共鸣
of what makes it moving, or meaningful, or resonant.
即使是1970年代的经典灾难片也一样
Even when it was a classic '70s disaster film
譬如《海神号♥》或《大地震》
like Poseidon Adventure or Earthquake.
(1974年《火烧摩天楼》 约翰吉勒明执导)
关于在指挥台上的约翰 我最早的一个印象
One of my earliest memories of John on the podium
是看著他指挥《海神号♥》 和《火烧摩天楼》的配乐
was seeing him conduct Poseidon Adventure and The Towering Inferno,
你一到裡面就会站在低音提琴手的旁边
and you could come in and you'd be right next to the bass players
然后就有约翰和我... 他应该有穿著他的招牌高领黑毛衣
and there would be John and I... and I think his classic black turtleneck.
他会指挥乐团,而我就静静地坐著
And he would conduct and I would kind of sit quietly
带著一种敬畏之情,看著这一切发生
with some degree of intimidation and watch this all go down.
欧文艾伦是个很爱出风头的人
Irwin Allen was a wonderfully flamboyant character.
(欧文艾伦) (《海神号♥》制片)
他很会混合配音音效
He was wonderful with the mixing of the sound called dubbing,
就是音效、对话和音乐全都结合在一起
where the sound effects and dialogue and music is all put together,
他总是坚持所有声音要大声点
and he always insisted everything be louder.
很简单,就是弄得大声点
Just simply, make it louder.
我靠一支铅笔和纸就搞定一切
I've done all this using a pencil and paper
现在我也依旧在使用,一点都没变
and I still use them and I haven't changed.
我这几年一直忙著在这裡工作
I've actually been so busy in the years that I've been working here
都还没时间更换工具和学习电子设备
that I haven't had time to retool and learn the electronic systems,
这样工作效率或许会更好
which I think probably go a little faster.
如果你要写这一段...
If you wanna write this...
大概是九个或十个音符 我得像这样写下来
it's nine or ten notes. I have to write them like this.
如果是...
And if it's...
就有很多音符
That's a lot of notes.
在电脑上只要按个按钮就能看到
And in the computer, you push a button and then you can see it.
我得把这些东西全写下来
I have to write all those little things.
所以我谱曲所花的时间 大概比我的年轻同事还要多
So, I'm probably taking a lot more time to do things than my younger colleagues do.
我在谱曲时,经常在纸上写满音符
A lot of times I write music, I'll fill up the paper with notes
然后隔天早上再看一遍
and come back the next morning and look at it.
感觉就像是别人写的一样
And it is as though someone else had written it.
我会看著纸上说:“这不可能都是我写的
I look at that and say, "I couldn't possibly have written all that.
绝对不是在昨天写的 哪有那麽多的时间?”
Certainly not yesterday. There wouldn't have been enough time."
他是下过苦功才学习到这些技能的
He's somebody who learned his skills painstakingly,
现在他活在这个用AI...
(伊森格鲁斯卡) (唱片制♥作♥人兼约翰的外孙)
and now he lives in a time where you can conjure music
...就能迅速变出音乐的时代
from a prompt with A.I.
人们应该亲眼见证 一个独自关在房♥间裡工作
And I think people should see somebody who has worked alone in a room
超过一甲子的人
for 60-plus years.
他牺牲掉很多事情 这辈子也受过一些苦难
There's a lot of sacrifices. There's been some pain in his life.
所以当事情过去之后,他就闭口不提
And so, when you pass a certain point, he gets quiet.
我认为他是在用音乐表达自己
And I think that he expresses himself through music.
(1995年《龙凤配》主题曲)
我母亲当时是在内华达州的雷诺市
My mother was away in Reno, Nevada,
在电影《烂赌仔与小老千》演一个小角色
doing a small part in a film called California Split.
(1974年《烂赌仔与小老千》 劳勃阿特曼执导)
二号♥滑道传出民歌♥ - 民歌♥
Old Blue out of chute number two. - Old Blue?
二号♥滑道传出民歌♥
Old Blue out of chute number two.
是真的 - 不会吧
That's the truth. - No.
我们接到凯瑟琳阿特曼的电♥话♥...
We received a phone call from Kathryn Altman
(凯瑟琳里德阿特曼) (演员兼劳勃阿特曼之妻)
...她说:“请妳的父亲联络我”
saying, "You need to have your father call me."
我在家裡等了大概一个小时
So I wait in the house for about an hour or so,
他回到家时我说:“妈好像出事了”