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看板KingofPop作者ulcer (someone in the dark... )時間14年前 (2009/12/25 17:40)推噓7(7推 0噓 2→)

留言9則, 8人參與討論串1/1

雖然有人已經收到了可是大部分的人還在望穿秋水.... LA TIMES MAGAZINE 12月號網頁上有部分內容大家先解解饞... http://www.latimesmagazine.com/2009/12/michael-jacksonoff-the-wall.html DECEMBER 2009 Michael Jackson Off the Wall LITTLE TRAMP Michael often told me that “Smile” was one of his favorite recordings. I remember we were in the studio, and I came up with the idea at the end of the song to have the piano sound old, like in an old movie theater, with the sound slowly disappearing. Michael told me it would work magically with the short film he had planned for the song. He would walk away from the camera just like Charlie Chaplin did at the end of his movies. He loved Chaplin, said he saw a lot of himself in him. —David Foster Michael常告訴我"Smile"是他最喜歡的錄音之一。我記得我們在錄音室的時候，我想到一個點子是在歌曲結尾的加入古老的鋼琴聲，像在老戲院中聽到的一樣，然後那聲音逐漸消失。Michael告訴我說，這點子會讓他想幫這首歌拍的短片有著極佳效果。他會逐漸走出鏡頭，就像Charlie Chaplin在電影中一樣。他很喜歡 Chaplin，他說他在他身上看到很多他自己。—David Foster (短片呢？為何後來沒有拍呢？) RENAISSANCE MAN During the summer of 2008, I received an email from Michael’s assistant asking if I could come to Las Vegas to talk about a new project...Michael and I sat down. “I’m back working,” he said. He looked around the room and waved his arms: “This is just temporary. I’m building this new place not too far from here. And I want you to do these huge paintings of me and the kids that will hang on all the walls.” 2008年的夏天，我收到Michael的助理的email問我是否可以來Las Vegas 談一個新計劃…Michael和我坐下來談。“我回來工作了，”他說。他環顧了一下房間，揮動手臂說︰“這只是暫時的。我正在離此不遠的地方建一個新住所。而且我希望你幫我製作一些我和我孩子的巨幅畫作，以後可以掛在牆上。” “Well, how big?” I asked. He pointed to a wall about 20 feet away. “You can come here and set your stuff up and paint. I want to see you work on the art as you go. I want to document the entire thing.” “要多大呢？”我問。他指向20呎外的牆。“你可以來這裡裝設你的東西，開始畫。我想要看著你作畫。我想要記錄這整件事情。” He told me how this new place was going to have all his awards and memorabilia for everyone to visit. All the walls he wanted covered in huge oil paintings and murals...He wanted me to think of themes that had a touch of history and sketches that would include him and his children in different settings...Hanging above our heads were a few very large oil paintings, and I said, “Michael, we’ll do them this big, maybe bigger. I’ll see you soon.” —Nate Giorgio 他告訴我，在他的新家他要把它所有的獎座、紀念品擺設出來讓大家都可以來參觀。所有的牆上他都要掛上巨幅油畫和壁畫…他要我構思一些主題，跟歷史有關的，而且可以把他和他孩子的畫像都包含在裡面…在天花板上也要有巨幅油畫，我說︰“Michael，我們要做的是這麼大的，甚至更大。我很快會再來。” —Nate Giorgio OF MICE AND MICHAEL I’d been asked—as Sony Pictures CEO—to visit with Michael to talk about his passion for film and his desire to get into movies...At this point in his career, Michael was a gigantic force in pop music. 在我當Sony Pictures CEO時，某次我去拜訪Michael，談他對電影的熱愛，以及他想要投入電影…當時的他正是流行音樂界的超級巨星。 “With a song,” I said, “it seems to me that the emphasis is on sound over story. In music videos, the story has to serve the sound. And in films, the sound has to serve the story. No?” “對一首歌來說，”我說︰“音樂的重要性應該大過於故事。對音樂錄影帶來說，故事是用來輔佐音樂的。至於影片呢，音樂則是用來輔佐故事的，不是嗎？” “You have to get your audience’s attention,” Michael said. “In both films and music. You have to know where the drama is and how to present it...Let me show you.” He took me upstairs, where we stopped in front of a glass terrarium. Inside it, a snake was camouflaged, coiled around a tree branch. Its head was tracking something in the opposite corner. Michael pointed at the object of his snake’s obsession. A little white mouse was trying to hide behind a pile of wood shavings. “你必須要抓住觀眾的注意力，”Michael說︰“不論是電影或音樂，你都要知道戲劇性在哪，及如何把它表現出來…讓我show給你看。”他帶我上樓，我們停在一個玻璃容器前。在那容器裡，有一條蜷曲在樹枝邊隱蔽著自己的蛇。那條蛇的頭正在追蹤另一個角落的一個東西。Michael指著那東西說，那是那隻蛇心念之所繫。是一隻想要把自己藏身於一堆木屑之後的白老鼠。 I said hopefully, “Are they friends?” 我懷著希望說︰“他們是朋友嗎？” “Do they look it?” “他們看起來像嗎？” “No. The mouse is trembling.” “不像，那隻老鼠在發抖。” “We have to feed my pet snake live mice,” Michael said. “Dead ones don’t get his attention.” “我們必須用活的老鼠來餵我的蛇，”Michael說︰“死的引不起牠的興趣。” “So why doesn’t he just go ahead and eat it?” “牠為什麼不就乾脆上前吃了牠呢？” “Because he enjoys the game. First he uses fear to get the mouse’s attention, then he waits, building tension. And when the mouse is so terrified it can’t move, our snake will close in.” “因為牠要享受這整個過程。首先，他用恐懼來吸引老鼠的注意力，然後牠等待，營造張力。當老鼠因為太害怕而不能動時，我們的蛇就會靠近。” That snake had the attention of that mouse, and that mouse had the attention of that snake—and Michael Jackson had my attention. “That’s drama,” he said. 那隻蛇吸引了老鼠的注意力，那隻老鼠吸引了蛇的注意力─而Michael Jackson則吸引了我的注意力。“這就是戲劇，”Michael說。 “It sure is,” I said. “This story has everything—stakes, suspense, power, death, good and evil, innocence and danger. I can’t stand it. And I can’t stop watching.” “這當然是，”我說。“這個故事什麼都有了─冒險、懸疑、力量、死亡、善良與邪惡、無辜和危險。我忍不住想一直看下去。” “Exactly,” he said. “What’s going to happen next? Even if you know what it is, you don’t know how or when.” —Peter Guber “沒錯，”他說。“接下來會發生什麼事呢？就算你知道接下來會發生什麼事，你也不知道如何發生、何時發生。”—Peter Guber -- ※ 發信站: 批踢踢實業坊(ptt.cc) ◆ From: 218.166.211.119

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