寻找黑暗（2019）

the movie even began.
尼克·卡斯特尔
《月光光心慌慌》演员
我不知道约翰是否发明了使用合成器来制♥造♥恐怖或类似的东西
Well, I don’t know if John invented using the synthesizer for horror or something like that
但他确实利用了这一点
but I mean he certainly capitalized on it.
我们从电影学校毕业后都参加了一个摇滚乐队 所以我了解他的背景
We were both in a rock-and-roll group coming out of film school so I know his background,
他的父亲是一位音乐家 他从小就会弹钢琴 吉他 贝斯
his father was a musician and he grew up knowing how to play the piano, the guitar, the bass
还有各种各样的东西
and all kinds of things.
所以 他很有成就
So, he’s very accomplished.
比如说万圣节的乐谱 我想是他在一个下午写的
He said he wrote that, the score to Halloween for instance I think in an afternoon.
他只是有一个想法 而4/5的时间是用聪明的方法实现它
He just had an idea and this 4/5 time was the clever way of approaching it.
如果你有这种技能 那么你可以在前期制♥作♥中考虑音乐
If you have that skill you can think in pre-production about the music, you’re thinking of
你在拍摄时就会想到它
it when you’re shooting.
我想 配乐对你来说就是电影生活的一部分
The score then becomes a part of the life of the movie to you, I think.
它源于经济因素
It started out as economics.
约翰·卡朋特
《月光光心慌慌》作曲家
当你的预算很少时 你就没有预算请一位大作曲家
When you have a little tiny budget, you don’t have a budget for a big-time composer and
和管弦乐队
an orchestra.
你必须在合成器上做 我可以自己做
You have to do it on a synthesizer and that, I could do it myself.
所以 它开始于《月光光心慌慌》 然后在一段时间后成为一个创造性的选择
So, it started in Halloween and then it became a creative choice after a while.
尽管我与埃尼奥·莫里康内合作创作了《怪形》 他是一位才华横溢的作曲家
Although, I worked with Ennio Morricone on The Thing and he was just a brilliant composer.
他们最后给出的却是一个非常卡朋特风格的音乐 非常简约
What they ended up with was a very Carpenteresque score that is very minimalist and
这是大♥师♥埃尼奥·莫里康内最意想不到的作品 而且成功了
it’s about the last thing you would have expected from the maestro Ennio Morricone and it works.
这音乐太恰到好处了
That’s some spot-on stuff.
如果你看过这部电影 我播放音乐的开头 它就会带你去到某个地方
If you’ve seen the movie and I play you that opening, it just takes you someplace.
《怪形》（1982）
你被传送到这个那次经历中记住的世界里
You’re transported into this world that you remember from that experience.
它营造了一种恐惧的感觉 就像在《大白鲨》里一样
And it just builds that feeling of dread, the same thing in Jaws.
卡罗琳·威廉姆斯
《德州电锯杀人狂2》演员
他们知道怎么抓住你的心
They know how to get you.
经过这么长时间 我仍然被那些不同的工艺元素所感动
After all this time I’m still moved by those different elements of craft.
声音设计和构图 会在你的电影体验中产生差异
Sound design and in composition, the differences that makes in your movie-going experience.
80年代的时候 我非常喜欢音乐收藏
I really got into soundtrack collecting in the ’80s.
也许我不太喜欢流行音乐的原因是因为我在收集原声音乐
Probably why I didn’t get into pop music as much because I was collecting soundtracks
听了很多这样的曲子
and listening to a lot of that.
《闪灵》的配乐有一种积雪般的氛围 让你无法离开
The Shining soundtrack has a snowed-in ambience and you can’t get out.
它会在你身上滚动 你在电影的声音中被捕捉到
It kind of rolls over you and your captured within the sound of the movie.
麦克·雷德曼
《变形测定器》音乐制♥作♥人
《闪灵》（1980）
令人难忘 非常黑暗 这是整部电影的声音景观
Haunting, very dark, it’s a sound-scape throughout the whole movie and I think the movie in itself
让电影本身也显得很冷
is also very cold.
它们可以很好地相互强化
They reinforce each other very well.
超级有效
Super effective.
我认为我最喜欢的冷门原声音乐是《月光光心慌慌3》
I think my favorite soundtrack that doesn’t get brought up a lot is Halloween 3.
詹姆斯·罗尔夫
《电影信使》主持人
我说的不是电视上的广♥告♥歌♥ 我是说里面的配乐
I’m not talking about the little jingle on the TV, I mean like the score that’s in it.
《月光光心慌慌3：女巫的季节》（1982）
在我看来 这是约翰·卡朋特最好的作品之一
It’s one of the best John Carpenter scores in my opinion.
音乐对恐怖非常重要 同时也很容易会出错
Music is very important to horror and very easy to get wrong in horror.
小菲尔·诺贝尔
《Fangoria》主编
我们看过的电影里用到的音乐铺满了仓库
There’s films that we watch that have just been carpeted with stock music and you can
有一些音乐是为电影精心策划的
tell and there’s music that has been more carefully curated for a film and when you’re
比如说霍华德·肖尔和柯南伯格
in the hands of say Howard Shore with Cronenberg stuff.
这是一对意想不到的组合
That’s an unexpected union that really works.
霍华德·肖尔给柯南伯格写的配乐很有歌♥剧色彩
Howard Shore goes very operatic with Cronenberg’s scores
这在某些电影中是不会发生的
which you wouldn’t think would be the case with some of these films.
每张恐怖片都是不同的 这就是它的精髓 特别是某些和♥弦♥结构
Every horror picture is different. There’s the essence of it, certain chord structures that appear
哈里·曼弗雷迪尼
《13号♥星期五》系列作曲家
其中很多都来自我们的朋友伯纳德·赫尔曼
in all of them and many of them come from our friend Bernard Herrmann.
我可以通过一部又一部的电影 告诉你他对音乐创作的影响有多大
I can go through film after film and tell you how much he’s affected the way music works.
所以 当有人对我说这听起来像伯纳德·赫尔曼时 我会说谢谢
So, when someone says to me that sounds like Bernard Herrmann, I go thanks.
在《活跳尸》中 当它以那种轻快的方式重构伯纳德·赫尔曼的《惊魂记》主题曲
In Re-Animator when it opens with that kind of sort of jaunty for want of a better word
迈克尔·金戈尔德
《AD Nauseum & Fangoria》作者
我真的是难以用言语来形容
rephrasing of Bernard Herrmann’s Psycho theme.
我知道很多粉丝批评理查德·班德剽窃了《惊魂记》 但事实总是如此
I know a lot of fans have criticized Richard Band for ripping off Psycho but it was always
这是一种致敬
intended as a homage.
应该在结尾处加上一段致谢 并向伯纳德·赫尔曼道歉之类的
There’s supposed to be a credit at the end saying with apologies to Bernard Herrmann or something
像这样
like that.
但当另一个音乐出现时 我马上就可以看出这部电影
But that was another one where that music comes up and right away I could kind of tell
将针对恐怖进行一种讽刺的无政♥府♥主义态度
that this movie was going to have kind of a satirical kind of anarchic take on horror.
就像它使用音乐的方式一样
Just the way it used that music.
伯恩斯坦为《猛鬼街》所作的配乐大部分是电子的
Bernstein’s score for A Nightmare on Elm Street is mostly electronic.
它听起来很简单 但却是一个让你印象深刻的主题音乐
It sounds very basic but it’s a theme that sticks to your mind.
当你不过度使用时 简单和重复是一个很好的公式
Simplicity and repetition is a great formula when you don’t overdo it of course.
我也很喜欢这些超低成本的小配乐
I also really like some of this smaller super low budget soundtracks.
斯宾塞·希克曼
死亡华尔兹奖创始人
比如《睡衣派对大屠♥杀♥》 整个配乐是用30美元的
So, The Slumber Party Massacre for instance, the entire soundtrack was made on a thirty-dollar
卡西欧键盘和三个会发出声音的水晶玻璃制♥作♥的
Casio keyboard and three crystal glasses that they would just sort of ping.
它的制♥作♥不需要任何成本
It cost nothing to make.
我不觉得乔治·莫罗德会坐在这里考虑让我制♥作♥一个80年代的合成器恐怖配乐
I don’t think Giorgio Moroder is sitting here thinking about let me make an ’80s synth horror
但在与大卫·鲍伊开会时 他可能在《豹人》同期制♥作♥了一个80年代典型的
score but in congress with David Bowie he makes maybe one of the quintessential synths driven ’80s
合成器制♥作♥的恐怖音乐
horror scores with Cat People.
它以一种更传统的恐怖方式萦绕在你的脑海中
It sticks in your mind and lingers in the memory in a way that a more traditional horror
并留在记忆里
score would not.
这几乎就像音乐版本的传递火炬
It was almost like a musical version of passing the torch.
科里·泰勒
《Slipknot》主音乐师
从模拟到数字 从过去到80年代 一切都在发展
Going from analog to digital, going from the past to the ’80s where everything was expanding
我想在所有80年代的电影里都有共通的标识
and that fingerprint, I think is on all of those ’80s movies.
《活死人之日》的配乐只是那些萦绕心头的电子配乐之一
The Day of the Dead score is just one of those really haunting electronic scores.
刚开始听的时候你会觉得很简单 但实际上
Now at first when you listen to you think is quite simple but there’s actually
在主副歌♥下面有很多层
quite a lot of layers going on underneath that main refrain.
它有一种身临其境的《活死人之日》的感觉 我认为音乐增加了这一点
It’s got a very clinical feel Day of the Dead and I think the music adds to that because
因为它是一个非常鲜明的合成器产品 如果它有一个管弦乐配乐
it’s very stark kind of synth work and it makes it almost more alienating like as the
那么电影和音乐间的关系就会变得疏远 整部电影的
movie if that had like an orchestral score for instance, the whole feel of the film would
感觉就跳脱了
have been thrown off.
对我来说 《养鬼吃人》的配乐在这10年里
As far as the soundtrack of Hellrasier goes, it is to me by a distance the best horror
是最恐怖的
score of the decade.
很美 很壮观 就像一曲安魂曲
It’s beautiful, it’s monumental, it’s a requiem mass.
宏伟
Magnificent.
我不知道为什么重金属在20世纪80年代的恐怖电影中如此盛行
I have no idea why heavy metal was so prevalent in 1980s horror movies.
我的意思是 当时有很多电影 像《杀戮屋的摇滚乐》和《魔界舞男》
I mean there was a glut of movies Slaughterhouse Rock and Trick-or-Treat, they were based on
都是以重金属角色和乐队为主题的
heavy metal characters and bands.
然后美国所有的头发金属乐队都决定他们必须在恐怖电影里
And then every sort of hair metal band in America decided that they had to get a song
要有一首歌♥
on a horror movie.
摇滚和恐怖 他们生活在一起
Rock and horror, they live so closely together.
尽管有这么多的缺点 但《魔界舞男》的配乐太他妈棒了 谁要是反对
For all its flaws the soundtrack to Trick-or-Treat is fucking amazing and I will fight anybody
我会揍他们一顿
who says differently man.
所有这些歌♥都非常朗朗上口 而且非常非常好
All of those songs are insanely catchy and really, really good.
还有包豪斯的《猛鬼舔人》《橘梦》和《城♥堡♥》
Whether there was Bauhaus’s Night of the Demons, Tangerine Dream and The Keep
《捉鬼小灵精》的配乐很棒
The Lost Boys had such a great soundtrack to it.
《猛鬼街3》中的Dokken《13号♥星期五》中的Alice Cooper
Dokken in Nightmare on Elm Street 3, Alice Cooper in Friday the 13th Part 6.
这些都是在和时代交谈
These were speaking to the times.
瑞恩·图雷克
怖屋公♥司♥发展副总裁
他们在和朋克摇滚的孩子们交谈 和新浪潮的孩子们交谈 他们
They’re speaking to the punk rock kids, they were speaking to the new wave kids, they
和那些像我一样在古典摇滚中长大的纯粹的孩子们交流
were speaking to the pure kids that were growing up on classic rock like I did.
它成为了你成长中的音乐
It became the soundtrack to your own life growing up.
《猛鬼街3：梦中战士》里 希瑟·兰根坎普回归了
The third Nightmare on Elm Street film Dream Warriors has Heather Langenkamp returning
詹姆斯·A·贾尼西
《Dead Meat》主持人
南希·汤普森召集了一群梦中战士
as Nancy Thompson to assemble a bunch of dream warriors.
《猛鬼街3：梦中战士》（1987）
在精神病院的孩子在梦里用自己的梦之力与弗雷迪·克鲁格
Kids who are in a mental institute who battle Freddy Krueger in their dream with their dream
展开战斗
powers.
我觉得这是每个人在想到该系列时都会想到的噩梦电影
I feel like this is the Nightmare movie that everyone thinks of when they think of the
因为第一部是经典之作 但这部里 人们在梦中与弗雷迪互动
series because the first one’s a classic but this one has all the fun and games of people
并以乐趣和游戏的形式和他战斗
engaging with Freddy in their dreams and fighting him.
梦中战士们都非常棒
The Dream Warriors were collectively all pretty awesome.
我扮演了金凯德
And I played the role of Kincaid,
《猛鬼街》里第一个揍弗雷迪一顿的黑人
the first black in A Nightmare on Elm Street to kick Freddy’s ass.
肯·萨格斯
《猛鬼街3》演员
金凯德代表少数民族 不仅是非裔美国人 他还代表少数民族
Kincaid represented the minorities, not just African Americans but he represented the minorities
他是全世界的英雄
all over the world and he was a hero.
希瑟和罗伯特·英格伦对我们来说就像姐姐和哥哥
Heather and Robert Englund was like big sister and big brother to all of us.
《猛鬼街》（1984）
《猛鬼街3：梦中战士》（1987）
她是连接《猛鬼街》电影的一个点 这是必要的