At the beginning of July, another "National" movie "Terracotta Warriors City" officially landed in the theater. The film was created by the "Bear Haunting" team for 5 years, jumping out of the shackles of traditional big IP. "Qin Shi Huang Terracotta Warriors and Horses City" creatively focuses on the "Qin Shi Huang Underground Terracotta Warriors", creating a new world of underground terracotta warriors, which is refreshing.
In this film, in addition to the novel and unique plot structure and delicate atmospheric special effects picture, it also integrates traditional Chinese musical instruments such as chimes, guzheng, flutes, flutes, etc., and skillfully combines modern music sampling to create a three-dimensional guming cultural experience of sound, light and painting for the audience, which is more impressive. These charismatic musics were created by Hong Kong musician Wong Ying Wah (China).
In 1994, Huang Yinghua was his debut year. He created the 14th Hong Kong Film Award for Best Film Score for Tsui's film Liangzhu. Surprisingly, this is Huang Yinghua's first time as a film scorer. In the past 30 years, he has done behind-the-scenes soundtracks for nearly 30 classic films such as "Dark War", "King of Comedy", "Kung Fu", "Shaolin Football" and participated in film production, with a total box office of 10 billion, becoming a favorite video soundtrack teacher for directors Stephen Chow, Xu Ke and Du Qifeng.
This new "Terracotta Warrior City" is another original musical masterpiece in recent years, after Huang Yinghua's "The Return of the Great Sage of Journey to the West" and "Jiang Ziya". Released in 2015, "The Return of the Great Sage of Journey to the West" is known as "a rare phenomenon-level work of Chinese animation films in the past decade", and the Nezha sister article "Jiang Ziya", which landed in theaters with the results of "eleven files" last year, also had a good reputation. The original music behind these two films comes from Huang Yinghua.
"East meets West" is the core style of Huang Yinghua's soundtrack. He is good at combining surging Western strings, avant-garde electric percussion, and the most traditional Chinese folk music to collide with a new flower. His music not only creates a richer perspective for the film, but also enables more people to recognize the traditional Chinese folk music through the film.
Huang Yinghua said: "To make a unique new thing, you need to mix two very ordinary, incongruous things, I would rather mix Western elements with Chinese elements, new elements and old elements mixed together to innovate, rather than follow the rules." ”
Today, Huang Yinghua often performs with excellent orchestras at home and abroad, such as the Macedonian Philharmonic Orchestra, the Bulgarian National Orchestra (SOFIA RADIO ORCHESTRA), the Russian BOW TIE National Orchestra (MOSCOW BOW TIE ORCHESTRA), the KARLOVY VARY SYMPHONY ORCHESTRA, As well as senior professionals in various fields in China, such as accordionist Natalie ZHANG, she is also the general coordinator of music. Music producer CHEUNG CHI HIN, who is also a classical crossover singer, will be responsible for the performance and supervision of many vocals in the film.
Huang Yinghua said: "We have created a lot of classic films and music with our own cultural characteristics, and I hope to expose more people to real Chinese music." ”。
From pop music to movie music
Huang Yinghua first liked pop music, learned piano since childhood, and began to perform with the band in middle school. By chance, he stepped into the world of film scores.
It turned out that in Huang Yinghua's impression, pop music and film music were two completely different circles. Pop musicians started out wearing Prada, but filmmakers were "dirty" because they often ran out of time for days to shower. The pop music circle, to be very humane, there are many "jianghu rules". For example, if a singer wants to win the lottery, the agent will accompany the radio executives to play mahjong and not win money. So he came in the beginning and met everywhere in the pop music circle, but he could only go the path of "low-level" film music at that time, and he didn't expect that this road today.
Xu Ke was the first film director to formally work with Huang Yinghua, and "Liang Zhu" was also the first time in his life that he produced film music. In the early days of his career, Huang Yinghua worked with Xu Ke to produce music behind the scenes of three films. "Workaholic" is the deepest impression that Xu Ke left on Huang Yinghua. He described Xu Ke as an "iron man" who never seemed to have to rest.
During the filming of the movie "Knife", Huang Yinghua worked in the studio for 3 days and was almost in a state of collapse. Xu Ke saw it, smiled, pointed to the assistant director next to him, and said: "People have not slept for four days", the assistant director also smiled and said: "Master (Xu Ke), the fifth day..." Huang Yinghua always remembered this incident, "I don't complain, I dare not complain", "Their work attitude makes me awe." ”
With this momentum and awe, Huang Yinghua's strength was soon discovered by more big directors, and Du Qifeng was one of them. Between 1996 and 1999, Wong and To collaborated with him on several film detective films, including the popular police and bandit film Dark War in Hong Kong. The speed at which Du Qifeng made the film shocked Huang Yinghua, "Many of them were made in a month or two. But despite the fast film, he had to wait a few days before it was released. In a few days, a good movie will match, and gradually, Huang Yinghua has been practicing a very efficient creative rhythm.
But to say that the director who has the greatest influence on Huang Yinghua's career must be Stephen Chow. Starting with "The King of Comedy", almost every film produced by Stephen Chow has produced music productions from Huang Yinghua, Shaolin Football, Kung Fu, Yangtze River Seven, and Journey to the West. Later, "The Mermaid" and "The King of New Comedy". For many people, Huang Yinghua's music adds a special mark to the "star-like" comedy films.
Huang Yinghua likes sports cars. During the movie "Kung Fu", he borrowed a sports car of Zhou Xingchi to "play", and has not returned. When he started working, Huang Yinghua was often told by Xingye because his work style was very straight. But immediately after work, he would come over and coax him, and then he would come over and ask him if he was hungry with a box of rice. Since the first cooperation in 1999, Huang Xinghua and Xingye have been together for more than 20 years.
At the same time, the first collaboration with many new directors can also collide with the spark of fun. Huang Yinghua remembers that the director of Tian Xiaopeng's "Journey to the West: The Return of the Great Sage" flew from Beijing to Hong Kong (China) to meet him. He described in detail his eight years of production experience. The excellent movie storyline made Huang Yinghua react immediately in the music creation. The film's music production took only a month, but it was a classic film.
"I've worked with a lot of directors to have a tacit understanding. A lot of times I probably know what kind of music director definitely doesn't like it, but it's called "having a sharp mind and a little bit of clarity", which is like saving a lot of time for the run-in period that Huang Yinghua said.
"The content of the movie is my boss"
Outside of work, Huang Yinghua's biggest hobby is antique sports cars. He likes to listen to the sound of cars and make all kinds of mechanical sounds, which makes him forget the "bad notes" in his head and cheer up again. Flicking the old-fashioned bell during manual shifting is a very masculine metallic feel. Every time the V8 engine erupts, it's like a tiger roaring when provoked. These are all inspirations for Huang Yinghua.
In the 1990s, Porsche built 57 993GT2s in GT2 competitions, which were built for competition. The car did not take into account the user's sense of use and did not make sound insulation. Once pressed, the drums sounded like the sound of an airplane taking off, including the sound of the wind and the sound of the road in use, and all kinds of noise, completely unfiltered, directly into the driver's ears, the vibration of the machine and the rolling of the road surface directly to the bottom "Flying the 993gt2 is like listening to a live recording of Natkin Cole in the 60s." It has no automatic sound correction, no plugins, no P-map, just a real music experience. Huang Yinghua is like this metaphor.
The Dino246GTS, produced in 1973, is Wong's favorite car because it has a moving story behind it. Alfredino, the eldest son of Enzo Ferrari, was raised by Enzo from an early age and is now a young engineer for Ferrari sports car engines. Unfortunately, Alfredino found deadly muscle atrophy with a survival rate of several years. After his illness, he continued to work until he was admitted to the hospital. Enzo insists he works with Alfredino every day, accompanying him to the end of his life. Alfredino left, and Enzo eventually finished the engine and became the heart of what would become the Dino 246GTS.
The shape of the car has many curves, especially the position of the front wheel arch and rear air. The graceful curves, described by Huang Yinghua as "the beauty of Italy", remind him of the italian music maestro Ennio Morricone's most famous classic, Cinema Paradiso. The beautiful melodies heard were all in major tones, but there was a faint sadness behind them.
In Huang Yinghua's view, each character theme should have a different musical feeling. The advantage of this is that the audience will associate different characters when listening to music. The melody that determines the theme of each character is the core of music creation, "the melody is determined, the logic of other music is straightened out", and the same melody can be written with different accessories to cater to different picture scenes. For example, the effect of big drum wind music with bass is tragic and spectacular; guitar solo gives people a feeling of loneliness; the combination of strings and piano, like lovers in love, gives people endless entanglement and the feeling of surroundings.
Compared with real-life films, "animated films rely more on music, and music runs through almost the beginning and end of the entire plot." As long as you watch, the characters in the play are sleeping, and the music will not stop. Huang Yinghua explained.
But he also stressed that "good music does not equal good soundtrack", and for audiences watching movies, some emotional bridges can hardly resist tears. However, when the music starts, tears burst out immediately. It was the film music that played an outstanding role, sublimating the impact on the film. In Huang Yinghua's cognition, a good soundtrack is to make "the film more beautiful, the layers richer, and the character image clearer."
Of course, it is normal to encounter bottlenecks in creation: "My creative career is to encounter bottlenecks every day," Huang Yinghua joked. Sometimes, he spent the night in front of the computer for 10 hours of music, listening to it the next day, feeling ashamed. It's hard to find inspiration that can be seen and disappeared at any time. "It's impossible, so to speak." But this normality also comes from the experience of life — driving a sports car on the highway doesn't consciously hum hot music, and when loved ones leave, they naturally think of moving melodies, "But I don't have family to leave me every day." "So this time it's memory and imagination that creates the music," he laughed suddenly.
In recent years, Huang Yinghua's mentality has changed a lot. He often had heated discussions with the director because the music was not made as the director asked. For him, he only cares about what kind of music can push the film to the highest level "The content of the film is my boss, our big man" Finally, we are also trying to make the film the best, so to speak, we go all out. ”
Talking about the new attempts to hope for the future, Huang Yinghua said that he hopes to try more interactive multimedia live concerts, put the classic movies "Shaolin Football" and "Kung Fu" on the large-screen projection, arrange the string orchestra next to the audience, and the harmony group sits in the back, as if the melodious narrative in the ear will bring about an "invincible" sense of on-site shock.
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