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I'm not from a science class.
So my soundtrack,
Can be very emotional.
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In Derg's view, the soundtrack is part of the sound of the film, and it must be used to complement the narrative of the film. "If you have a deep memory of the soundtrack and can remember this story at the same time, it means that the soundtrack is a good soundtrack." I just think it's too good to listen to, and the story doesn't look into it, which may be counterproductive. ”
Derg Tse-rang is the first Tibetan film recording engineer, and his masterpieces such as "Tharlo", "The Sun is Always on the Left" (First Youth Film Festival Best Music Nomination Award), "River", "The Pursuer", "Colorful Arrow" and other works have had a wide impact on the film industry. But he is also a versatile creator in the film and television industry, not only in the field of film recording, but also in the field of composition, singing, directing and other different directions, including the creation of the Tibetan pop song "sunshine (shine)", the creation and singing of the Golden Horse award-winning film "Tharlo" Chinese promotional song and so on. Many of his works have been the darlings of many film festivals, and he has won awards at the Vancouver International Film Festival in Canada, the Busan International Film Festival in South Korea, the Golden Rooster Award for Chinese Films, the Hong Kong International Film Festival, the Shanghai International Film Festival, the Seoul Digital International Film Festival, and the Cologne Film Festival in Germany.
Derge is obsessed with music. He once studied in the Recording Department of Beijing Film Academy and the Department of Tibetan Language and Literature of Northwest University for Nationalities, although he has formed a band, but for film and television soundtrack, he should be regarded as a professional film and television musician from a non-science class, but after a series of excellent films such as "The Sun is Always on the Left", "Quiet Ma Ne Stone", "River" and so on, his original music is enough to attract attention.
Perhaps it is precisely because of the "non-class" that Derg's soundtrack is "very emotional". Unlike composers who graduate from the music department, who are often limited by some systems and music theory, Derg Cai Jean does not have too many constraints, he feels that the cooperation between the soundtrack and the film is very important, "Music is good, sound is good, is not it necessary to assist the plot?" Coordination is actually very important, the two of them are complementary to each other. This melody is very much worthy of it (the movie), and I made it, it's like this. ”
Now many composers are directly looking at the cut picture to do the soundtrack, but Derg let him feel that a good composer must go to the front line of film shooting to feel and create, "You just started to get the script, you may think that this soundtrack should be like this, but you actually put it on your scene, when you experience it yourself, there may be more inspiration, or more ideas." 」 At the same time, you have to "communicate with the director, and then talk to the script, read the material, and then dig into your kind of inspiration and think what kind of melody is appropriate here." ”
The creative concept that Derg Caijian has been pursuing is to let the soundtrack enter the hearts of the characters, and because of this, he will put himself in the position of the characters in the creative process to feel and think.
In the film "The Sun is Always on the Left", the soundtrack when the male protagonist accidentally crushed his mother with a tractor, tossed and turned away and finally released and returned to the scene of the incident, should have been the climax of the film, but Derg did not "use large strings, very full and plump, when it feels spectacular, maybe or when the emotional contrast is very large, it may be baked like this." It's about "going to the small side, going inward, grasping the narrative focus, grasping the emotions of the characters, and then doing this soundtrack." ”
The instrument used in this section of the soundtrack is also very simple, only a xylophone, and Derg let the impromptu hum, "I put myself in the position of that character, he came back, and when he came to the scene of the incident, what kind of mood he was in." When he was relieved, what was his inner emotion was based on this, and then I myself closed my eyes, and it was in that feeling, improvising with the music. ”
In Derg's view, "If the really good music comes out, it can make the narrative of the movie full, and then it is gripping, and I think this is enough." ”
Producer: Video Scene (Discover the WeChat public account of the film industry with short videos)
WeChat: Video live
Venue Acknowledgements: Tang Ren Hengyi