[情報] MJ老鼠與蛇

看板KingofPop作者oldtrafford (oldtrafford)時間13年前 (2011/03/15 05:30)推噓5(5推 0噓 0→)

留言5則, 5人參與討論串1/1

http://tinyurl.com/62uqfwt MJ, The Snake And The Mouse (13-3-2011) Peter Guber, chairman and CEO of Mandalay Entertainment, has written a new book called 'Tell To Win.' Back in the late '80s and early '90s, Guber was CEO of Sony Pictures and, in his new book, he mentions a meeting he had back then with Michael Jackson and how that meeting turned into a lesson in drama. You can read that excerpt from the book below: Peter Guber最近寫了一本書叫做說了就贏在八零年代末期九零年代初期他是 SONY電影公司的CEO 在他的新書裡有提到一段他跟MJ的會面關於戲劇性的一堂課內容如下 Once you’ve got your hero, what gets the emotion moving? What holds us spellbound, begging for more? Michael Jackson taught me in no uncertain terms, the answer is drama. 當你已經有了主角之後電影中還缺了什麼? 是什麼讓我們欲罷不能麥可傑克森告訴過我答案那就是戲劇性 Back in 1991, Jackson already was a force to be reckoned with. After renewing his contract with Sony for a record-setting $65 million, he released his eighth album, "Dangerous¸" with the singles “Black or White” and “ Remember the Time,” both of which dominated the pop charts. As CEO of Sony Pictures, I’d sat in on the studio production of that album and was overwhelmed by Michael’s creative intensity and perfectionism. 回到1991年 MJ已經是佔有舉足輕重的地位他的唱片新合約打破了紀錄簽約金達到六千五百萬他發了第八張專輯Dangerous 單曲是黑與白和remember the time 兩首都在排行榜成績優異作為SONY電影的CEO 我曾經坐在錄音室裡被MJ的創作力和完美主義給震驚 His ambition knew no bounds. But when Sony’s most important musical asset invited me to his home in Encino to discuss his plans to get into movies and television, I was taken aback. Michael had proven he knew everything there was to know about pop music, but movies were a different animal. He wanted to produce as well as act. That meant telling stories. Could he do it? 他有強大的野心但當SONY最大牌的歌手邀請我到他家討論他想要拍電電影和電視時我還是下了一跳 MJ已經證明了在音樂界他知道所有的事情但是電影是另一回事他想要製作並且演出這是需要說故事的他能做到? I didn’t even have to ask the question. “In both films and music,” Michael said, “you have to know where the drama is and how to present it.” He gave me a long, intense stare and abruptly stood up. “Let me show you.” 我不需問這個問題麥可說不論是電影或音樂你都需要知道戲劇性在哪裡還有如何呈現他盯著我看了很久然後突然站起來說讓我給你看看 He led me upstairs to the hallway outside his bedroom, where we stopped in front of a huge glass terrarium. “This,” he said, “is Muscles.” 他讓我到了樓上他房間外的走廊我們站在一個巨大的玻璃容器前他說這是肌肉 Inside, a massive snake was coiled around a tree branch. His head was tracking something in the opposite corner of the terrarium. 裡面有一隻巨大的蟒蛇盤在樹枝上他的頭正跟著容器另一端的東西 Michael pointed with his finger at the object of Muscles’ obsession. A little white mouse was trying to hide behind a pile of wood shavings. 麥可指著肌肉瞄準的對象是一隻小老鼠躲在一堆木屑之後 I said hopefully, “Are they friends?” 我滿懷希望的問他們是朋友嗎 “Do they look it?” 麥可說你覺得呢? “No. The mouse is trembling.” 我說不老鼠在發抖 Michael said, “We have to feed Muscles live mice, otherwise he won’t eat. Dead ones don’t get his attention.” 麥可說我們必須用活老鼠餵肌肉不然的話他不吃死老鼠引不起他的興趣 “So why doesn’t he just go ahead and eat it?” 我說那他為什麼不去吃勒 He said, “Because he enjoys the game. First he uses fear to get the mouse ’s attention, then he waits, building tension. Finally, when the mouse is so terrified it can’t move, Muscles will close in.” 麥可說因為他很享受這個遊戲他先用恐懼獲得老鼠的注意然後他等建造緊張情緒等到老鼠嚇呆不能動了他就會攻擊了 That snake had the attention of that mouse, and that mouse had the attention of that snake -- and Michael Jackson had my attention. 那隻蛇獲得了老鼠的注意老鼠也獲得了蛇的注意而MJ獲得了我的關注 “That’s drama,” he said. 他說這就是戲劇性 “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.” 我說這當然是這里包含了所有利害關係懸念死亡好與壞純真和危險我不能承受了我不能再繼續看了 “Exactly,” he said. “What’s going to happen next? Even if you know what it is, you don’t know how or when.” 他說沒錯接下來會發生什麼呢雖然你已經知道結局但你不知道何時和怎麼發生的 “Maybe the mouse will escape.” 我說或許老鼠會逃走 Michael let out one of his high, strange laughs. “Maybe.” 麥可發出了他高而奇怪的笑聲說或許吧 If I’d had the slightest doubt about Jackson’s command as a teller of stories, it evaporated that day. His telling to win profoundly and clearly taught me that nothing grabs our attention faster than the need to know what happens next? 如果我曾經懷疑MJ是否能成為一個好的說故事者那天之後就被拋到九霄雲外去了他的描述很清晰的敎了我沒有比不知道會等下會發生什麼更能抓住我們的注意力以下兩段就不翻了總之就是MJ非常了解"戲劇性"的重要 Back at UCLA, I asked Dan Siegel to help me understand from his perspective as a neuroscientist why people are so enthralled by drama. Siegel pointed out that emotions don’t occur spontaneously. Nor, as any actor knows, can they be summoned at will. Emotions have to be aroused. “And arousal gets heightened,” Siegel said, “when you realize, I don’t know if the mountain lion’s still there; I don’t know if the spaceship is going to get back; I’m not sure he’s going to win the race. You have to have tension between expectation and uncertainty. Emotional tension drives you to think it might go this way, but it might go that way, and that makes you wonder, what will happen next?” The more you wonder what will happen next, the more you pay attention. And the more attention you pay, the more you hear, notice, and retain. One reason I was so helplessly enthralled as I watched Michael Jackson’s mouse and snake was that they were enacting a story of primal desire and dread. Somewhere deep in our DNA, we all have this story lurking because, at some stage of our evolution, if not in our more immediate existence, we lived this story. We were the weaker prey that hid trembling inside the cave from the saber-tooth lurking outside. You can read more about Tell To Win by visiting Peter Guber's website. Source: MJFC / thewrap.com / peterguber.com -- ※ 發信站: 批踢踢實業坊(ptt.cc) ◆ From: 130.85.56.85 ※ 編輯: oldtrafford 來自: 130.85.56.85 (03/15 05:36)

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