pintomusica

第62屆坎城影展唯一得獎的美國電影，堪稱鬼才導演的昆丁塔倫提諾暴力美學新作。

由昆丁塔倫提諾取樣過去電影大師名作中的樂曲，他怪異奇趣的品味，創造出獨一無二的塔倫提諾式配樂風格！


關於電影

故事背景設定於二次世界大戰展開後，德軍納粹佔領法國的第一年，Shosanna Dreyfus (【巴黎愛情故事】Melanie Laurent飾)目睹家人慘遭納粹上校Hans Landa (【溫柔的謀殺】Christoph Waltz飾)下令處決，而Shosanna驚險逃過一劫、逃至巴黎，偽造新身份後成為一間劇院的老闆。同時在歐洲某處，Aldo Raine中尉(【班傑明的奇幻旅程】Brad Pitt飾)組織了一群美籍猶太特種軍人，專以驚人迅速並且殘酷冷血的手法對付德國納粹士兵，敵軍稱他們為"惡棍特工"，後來這群惡棍特工有了德裔女演員兼臥底的Bridget von Hammersmark (【國家寶藏】Diane Kruger飾)加入其行列，要合力執行將德意志第三帝國領導人消滅的刺殺行動，隨著他們得知包括希特勒在內的眾多納粹高官將出席在Shosanna經營的劇院中舉辦的一場電影首映會，命運將他們全帶到了該劇院，此時Shosanna也將展開她個人的復仇計畫，準備將納粹一舉消滅...。本片為第62屆坎城影展唯一得獎的美國電影，由Christoph Waltz贏得【最佳男演員】一獎，堪稱是鬼才導演昆丁塔倫提諾繼【追殺比爾】後的暴力美學新作。 


關於配樂

配樂方面由昆丁塔倫提諾親自選曲，依舊分別取樣過去電影大師的名作，對"Spaghetti Western"這種義大利西部片種情有獨鍾的他，因而採用以多首作品奠定此類配樂風格、曾來台舉辦演奏會的配樂大師顏尼歐莫利克奈，其為1966年【The Big Gundown】、1973年【Allonsanf?n】兩部電影所創作的配樂作品，以及60年代經典電影【邊城英烈傳】獲第33屆奧斯卡最佳配樂提名的「The Green Leaves Of Summer」、在【追殺比爾】中也出現過的「White Lightning」、還有寫出【不可能的任務】片頭音樂的阿根廷作曲家Lalo Schifrin 1970年為克林伊斯威特電影【戰略大作戰】所作的「Tiger Tank」、40年代正逢德意志第三帝國時期的德國電影【Hi Diddle Diddle】、【Die grosse Liebe】中的歌曲，更有David Bowie替電影【豹人】演唱的「Cat People (Putting Out The Fire)」等從各處精挑而來的經典配樂。塔倫提諾不管是在【惡棍特工】的劇情、背景，甚至配樂方面都試圖訴求"Spaghetti Western"式的風格，憑藉他怪異奇趣的選曲方式讓人猜不透他腦袋到底裝些什麼，又不得不佩服他對音樂的獨特看法與品味。

Sufjan Stevens is proud to present The BQE, a cinematic suite inspired by the Brooklyn-Queens Expressway and the Hula-Hoop. Commissioned by Brooklyn Academy of Music (BAM), The BQE was originally performed in the Howard Gilman Opera House in celebration of the 25th anniversary Next Wave Festival in October of 2007.

The Brooklyn-Queens Expressway is an incidental 12.7 miles of urban roadway built over the course of several decades (1939-1964), spear-headed by the master architect Robert Moses to accommodate for the increase of commercial and commuter traffic in New York City's outer boroughs. The roadway was a painstaking piecemeal project, poorly planned, badly built, and relentlessly encumbered by the obvious obstacles of the era: red tape, neighborhood protests, World War II, and a congested borough whose sequestering layout proved ill-fitting for the automobile. The resulting expressway-a pockmarked, serpentine, congested BQE-has become one of Brooklyn's most notable icons of urban blight. And, for Sufjan Stevens, an object of unmitigated inspiration.

The official album release of The BQE follows nearly two years after its original performance at BAM, providing the songwriter (and his various collaborators) ample time to wrestle out all the thematic incarnations of the project, and to attempt an appropriation of Wagner's Gesamtkunstwerk ("total work"). The resulting album might be best described as a grand creative franchise-incorporating movie, symphony, comic book, dissertation, photography, graphic design, and a 3-D Viewmaster® reel-in which a songwriter's interrogation of one of New York's ugliest landmarks expands athletically to forums and formulas outside of the song itself. In fact, the BQE is everything but a song.

First and foremost, The BQE is a self-made home-movie documentation, exhibiting how all the architectural colors of Brooklyn and Queens are fabulously intersected by this ramshackle artery of highway traffic. Shot renegade style on do-it-yourself film cameras, the animated footage of grid-lock crisscrossing the brick and mortar of Brooklyn flickers and cascades Koyaanisqatsi-style on three simultaneous screens. The 16mm cinematography (heroically shot by Reuben Kleiner on a 1960s Bolex) utilizes time-lapse photography, in-camera editing, slow motion, and post-production mirror effects to transform urban blight into a splendor of graphic compositions.

The BQE is also accompanied by an idiosyncratic musical soundtrack (composed by Stevens for band and chamber orchestra), evoking a romanticized musical choreography of perpetual motion vs. gridlock. Borrowing variously from Gershwin, Terry Riley, Charles Ives, and Autechre (to name a few), the music showcases skittish woodwinds wrestling out impressionist articulation (in 7/8) and imperial brass anthems evoking various incarnations of the music of the automobile.

The BQE further extends its mythology by anthropomorphizing the expressway and its theoretical conceits into a 40-page comic book (cover by Matt Loux, masthead by Christian Acker), in which three extra-terrestrial superhero sisters (Botanica, Quantus, and Electress) use hula-hoops to combat the "the Messiah of Civic Projects," Captain Moses, and his totalitarian social architecture. The comic book, written by Stevens and gorgeously drawn, colored, and inked by longtime friend and collaborator Stephen Halker, visualizes in graphic form many of the political motifs of the movie and soundtrack: mid-century urban theory, modernism, post-modernism, hoop dynamics, and the spiritual practice of Subud.

By incorporating an anachronistic graphic novel, the album utilizes artifacts from the Golden Age of the American highway (1930s-1960s). This also inspired the inclusion of a stereoscopic Viewmaster® reel. Seven 3-D images-also created by Stephen Halker-are meant to accompany the seven movements of The BQE. While an ostensibly gimmicky object of kitsch, the 3-D reel, upon closer inspection, becomes a fitting metaphor for the thematic premises posed by the BQE: its circular geometry mirrors the hula hoop, its numerology (seven divisions) runs parallel to the seven movements of the musical suite, and its historical circumstances shed light on the modernist themes of the album.

Originally unveiled at the World's Fair of 1939 in Flushing, Queens, the Viewmaster promoted 3-D panoramic illusions of the American landscape (the Grand Canyon, the Redwoods, New York City, for instance), advertising various tourist destinations as a way to inspire American drivers to boldly go (via automobile and super highway) where no man has gone before. Incidentally, the first portion of the BQE included the Kosciusko Bridge, connecting the boroughs of Brooklyn and Queens over Newtown Creek as an efficient means of funneling tourist traffic to the World's Fair. From this reading, the BQE and the Viewmaster reel are odd accomplices in the modernist conspiracy to mobilize Americans nationwide.

Many of these thematic abstractions are rendered as a meandering social treatise-via prose-poem psychobabble liner notes by Sufjan Stevens. In this case, the songwriter borrows from multiple theoretical sources to evoke how the vainglorious battle between the "Artist" and the "Object of Inspiration" ultimately leads to self-absorption, existential exhaustion, and morbid futility in the Finding The Right Metaphor. For Stevens, this metaphor (in its struggle to creatively render an object as irreducible as the BQE) expands into a multitude of forms and figures, like a shape-shifting chimera of infinite significance-resulting in an album that refuses to be just one thing.

The BQE is available as a double-disc format (CD/DVD), which includes the original 16mm/8mm film (in widescreen "triptych" display), the original motion picture soundtrack, a 40-page booklet (with extensive liner notes and photographs), and the stereoscopic image reel (playable in all View-Master® viewers).

The limited edition vinyl is available as a double gatefold and includes the soundtrack on 180-gram vinyl, a large-scale 32-page booklet with liner notes and photographs, and a black-and-white version of the 40-page Hooper Heroes comic book.

試聽：

http://store.erasedtapes.com/main.aspx?gopage=eratp15&x=15

http://www.myspace.com/peterbroderick

Reviews:
'It is the work of a master composer' - Drowned In Sound

'It's exciting to hear his talent develop in something like real-time (given the fast pace of his output), as he finds his way toward a breakthrough that seems tantalizingly close at hand.' - Pitchfork (US)

'Beautiful, minimal and bewitching, it is both another reason to hate Peter Broderick and another reason to admire him.' - Mojo

'Finally Peter Broderick is back... for us he soars onto a melancholic cloud-ensemble. Once the summer is over this record will unfold its full power' - DE:BUG (DE)  


雖然自07年成為丹麥樂隊Efterklang成員,美國年輕音樂創作人Peter Broderick仍持續他個人的創作活動,並曾與M.Ward,She & Him,Laura Gibson等合作,這張最新作品是他為現代舞 Music for Falling From Trees所創作的音樂。


In late 2008, Adrienne Hart contacted me about scoring her new work, FALLING FROM TREES. In Adrienne's words, "The piece is set in a psychiatric hospital and centered around one man's struggle to retain his identity in the most extreme of circumstances." There are four dancers in the piece. One male playing the patient, and three female hospital workers. 


I had been making music for a variety of film projects, but the thought of scoring a dance was very exciting to me. I was on tour at the time, so I wasn't able to start writing the music until I had a break in early January. The dance premiered on January 21st, so I had about three weeks to create the score. I camped out up in the top of my father's barn with some minimal recording equipment, my violin and viola, and an old broken piano.

日本傳奇樂團YMO成員、當代新音樂巨匠細野晴臣擔綱製作
收錄小泉今日子＆細野晴臣破天荒合作話題曲「good good」


由犬童一心所執導，改編自少女漫畫家大島弓子作品的電影『咕咕貓』，以充滿了日常樸實風情的東京吉祥寺為背景，描述漫畫家麻子與愛貓咕咕之間強烈的情感與羈絆，進而勾勒出對於這個世界以及生命的頌讚。擅長描寫細膩情感的犬童一心，在構想腳本時即想到要邀請新音樂大師細野晴臣來擔綱配樂的工作，而細野晴臣優雅、溫暖且極具內涵深度的獨特感性，也豐富了整部電影的靈魂。不僅如此，湘南吉他雙人組Humming Kitchen、青柳拓次（little creatures）、高田漣（pupa）等都會新民謠流派大師級的人物也前來助陣，而主演此劇的女主角小泉今日子更特別與細野晴臣合唱了「good good」一曲。無論是充滿著靜謐氣息ambient風格的演奏曲，又或是輕快宜人的舒爽民謠小品，彷彿就正呼應著劇中那一幕幕帶著溫柔視線的光景，不疾不徐的吟唱出生命的感動。


【參加藝人】：細野晴臣、小泉今日子、高田漣、Humming Kitchen、World standard、青柳拓次、越 美晴、The toy box

於1969年8月15-18日舉行的胡士托 (Woodstock) 音樂祭，被視為搖滾樂史上影響最深遠的一次活動，與那時期風起雲湧的學生運動、嘻皮文化互相呼應，四位不到27歲的年輕推手，以「愛與和平、反戰、愛音樂」作為音樂祭口號，卻萬萬沒想到為期三天的活動最後竟吸引多達50萬人湧入紐約Bethel小鎮，也因為人數太多現場失控音樂祭最後由售票變成免費，意外造就出這次盛況空前的文化事件，一眾演出者，包括Richie Havens、Tim Hardin、Joan Baez、John Sebastian、Country Joe & The Fish、Creedence Clearwater Revival、Sly & the Family Stone、Janis Joplin、Jimi Hendrix、CSNY、The Who、Joe Cocker、Santana、Grateful Dead等，不管是當年已紅遍半邊天或是因為胡士托才聲名大噪的，從此成為傳奇的一部份。


今年因正值胡士托四十週年紀念，自然有不少相關紀念與宣傳活動，Michael Lang等當年的主辦人準備在紐約跟柏林兩地再次舉辦免費入場的胡士托、由李安導演的《Taking Woodstock》也順勢在今年全球上映、台灣也首度出版了該片原著小說的中譯本、文學雜誌「印刻」將在八月號推出胡士托的相關專題、而當年的經典紀錄片《Woodstock》已重新推出導演剪輯加長的四十週年紀念版DVD，該片的原聲帶也乘勢重新推出。


在這次重新發行的兩輯共4張CD的紀錄片原聲帶，第一輯收錄了69年多組藝人在Woodstock表演的現場錄音，第二輯則是為了慶祝第一輯的大賣而生，著重於當年的一些重點表演，包括在隔年就逝世的吉他大師Jimi Hendrix、夢幻樂團CSNY，更收錄風靡一時的迷幻團Jefferson Airplane、參與Woodstock後大紅的女歌手Melanie、美國重金屬團Mountain的歌曲，全都是第一輯未收錄的歌曲。而這次再版發行因為是重新過母帶生產，在音質上大有改善，加上內頁附上多張珍貴的胡士托現場照片實錄，更添收藏價值。

由法國著名平面攝影師兼環保主義者Yann Arthus-Bertrand主導，大導演Luc Besson監製，走訪全球54個國家拍攝的紀錄片《Home》(中譯:《地球很美有頼你》)，揭露了地球很美的背後，它如何被生物多樣性和人類活動所蠶食的真相。影片的配樂由以色列作曲家Armand Amar創作，並由布達佩斯交響樂團和上海音樂學院敲擊樂團演繹，音樂融匯了蒙古、亞美尼亞、伊朗等國家的民族吟唱和器樂，既如冥想般舒緩又帶著淡淡哀傷，從出色的配樂，傳達了影片對地球現狀的不安情緒和一絲絲的盼望。  


《Home》（中文譯名：家園 / 地球很美有賴你 / 盧貝松之搶救地球）是一部法國製作的非盈利影片，於2009年6月5日世界環境日首播，並在全世界超過100個國家和地區通過電影、電視、DVD和互聯網同步公映發行。


《Home》的導演是著名法國攝影師、生態學家、環境保護者Yann Arthus-Bertrand (揚·阿爾蒂斯-貝特朗，有譯作揚恩·亞瑟)，Yann Arthus-Bertrand專門從事空中攝影已超過30年，極具聲望。他的空中攝影作品集《Earth from Above（空中看地球）》被翻譯成24種語言，銷售量超過3百萬冊；同名的免費攝影展在全球110個城市展出，觀衆達1.2億人次。而《Home》便是 Yann Arthus-Bertrand 30年空中攝影和環保工作的一次動態精華薈萃。法國著名導演呂克·貝松 ( Luc Besson, 《這個殺手不太冷》、《第五元素》導演) 則擔任《Home》的製片。


整部影片拍攝時間跨度18個月（在上海的鏡頭中可以看到建設中和完成後的"環球金融中心"），共計217天穿越54個國家120個拍攝點，使用裝在直升機上的Cineflex高清攝影機拍攝了733盤錄相帶，樣片總長488小時。影片拍攝得到巴黎春天集團（Printemps Pinault Redoute）1000萬歐元的資助以及許多著名品牌的贊助。


讓影片增色不少的電影配樂，是由法國著名作曲家Armand Amar創作，並由布達佩斯交響樂團和上海音樂學院打擊樂團演繹。影片配樂融彙了蒙古、亞美尼亞、伊朗等國的吟唱和器樂，猶如冥想般舒緩又帶著淡淡哀傷的音樂，以另一種方式，傳達了對地球家園現狀的不安及深切憐愛之情。


我們居住的這個藍色星球已經存在了45億年，她孕育出來的萬千物種長期一直相互依存。但只有20萬年曆史的人類，卻快速掌控了這個星球並爲所欲爲，過度索取資源，打破了億萬年來的固有生態平衡。在《Home》裏面，我們瞭解到：爲了滿足日益增長的食物需要，全球一半的穀物用於飼養提供肉類的牲口，生産1公斤牛肉就需要消耗1萬3千升的水；爲了生産紙漿而砍伐原始森林大量種植桉樹，生物的多樣性被人爲破壞，快速生長的桉樹，抽幹了地下的水分，快速消耗地球的資源。


過去50年，人類對地球的改變，比前面20萬年還要多，令這個美麗的藍星球千瘡百孔：大河斷流，資源枯竭；冰川冰冠快速減少，氣溫上升，氣候反常；森林消失，物種滅絕......

王家衛特邀大提琴家馬友友攜手絲路樂團，聯手打造終極版電影音樂。

暌違15年，《洛杉磯時報》稱讚影片為"無與倫比"的史詩武俠影片。

王家衛親自操刀剪輯、特效修復，締造2008年坎城、釜山及上海電影節票房奇蹟。

紀念張國榮逝世6周年，影壇八大天王天后匯集，堪稱華語電影傳奇經典。 


原版的《東邪西毒》攝製於1994年，是香港導演王家衛在創作上嘔心瀝血、引領風騷的華語武俠片經典，不但匯集了當紅巨星張國榮、林青霞、梁朝偉、張曼玉、劉嘉玲、張學友、梁家輝、楊采妮等空前絕後的夢幻卡司；而夢囈般的對白與哲思、意識流的敘事結構，則充滿著省略、跳切的美學，15年後，人們依然對這部電影津津樂道。近年來，中國的武俠電影形成潮流，王家衛表示：時候到了，決定重新整理這部電影：他將上世紀90年代早期所無法達成的技術，以21世紀最新的數位科技來進行修復；膠片逐格檢視、重新調色，?事順序也略整通順、緊湊，剪掉七分多鐘，由原本的單聲道重新混音為5.1杜比環繞音響，歷經3年，重新打造成一個終極版本。 


這部《東邪西毒 終極版》最具畫龍點睛、錦上添花的關鍵價值，就是電影配樂。鬼才導演王家衛在香港聽完國際知名大提琴家馬友友與其所領軍的絲路樂團音樂會後，立即親臨後台，盛邀馬友友共同合作打造這個終極版的配樂。在錄製完備受好評的《臥虎藏龍》、《藝伎回憶錄》、《電影情緣》之後，馬友友決定接下這份史詩武俠影片的配樂工作。除了大提琴獨奏部份之外，他並邀請絲路樂團裡的管樂名家吳彤來負責國樂部份，同時再找來兩位年輕的作曲家李勛（Li Xun）和Eli Marshall一同加入，組成錄音團隊，處理弦樂的部分。原則上保留了當年原作曲者陳勳奇與Roel A.Garcia的主題旋律，再做延伸性的作曲與編曲；大幅度地取代原版以電子合成樂器、薩克斯風等元素為主的配器，氣魄與格局之大，讓原來陽春版的配樂，變成了武俠交響詩組曲。

★日舞、洛杉磯、愛丁堡影展得獎影片

★2008奧斯卡最佳紀錄片

本紀錄片描述法國雜技名人Philippe Petit籌備六年半的壯舉，1974年在紐約世貿大樓間搭鋼索穿越的過程，，911事件後，這些偷拍畫面成為珍貴的歷史紀錄！本片音樂採用當代極限大師Michael Nyman的經典作品（「鋼琴師與她的情人」、「淹死老公」、「繪圖師的合約」等配樂）穿插表現鋼索人的心理狀態，包括Philippe表演前必聽的Memorial，並收錄作曲家J. Ralph為影片所寫的兩首配樂及法國鋼琴家Pascal Roge演奏薩提的兩首經典名曲。

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