Home Depot is our secret instrument building site.

家得寶是我們的祕密樂器製造基地。[輕柔空靈的音樂]

Hello, I'm Hans Zimmer, and today we'll be breaking down how we created the score for "Dune: Part Two."

大家好，我是漢斯-齊默、今天，我們將分析我們是如何為《沙丘》配樂的第二部

I remember finishing Part One and saying to Denis, "Hang on, we're only on page 156 of roughly 600 pages."

我記得我完成了第一部分並對丹尼斯說："等一下，我們才翻到第 156 頁 約 600 頁"。

And I just carried on, I carried on writing, and there came a phone call from Denis going,

我就這樣繼續著、我繼續寫作、 然後丹尼斯的電話就來了、

"Listen, the movie has been out for six months. You can stop writing now."

"聽著，電影已經上映六個月了。你現在可以停筆了。"

And I was going, "No, no, no, I really think we're going to get to make part two," because we weren't green lit at that point in time.

我說："不，不，不、我真的覺得我們會拍到第二部。" 因為當時我們還沒有獲得準許。

So I just carried on writing.

所以我就繼續寫下去。

And then I wrote a theme, which I really loved, and there's a voice in the first movie,

然後我寫了一個主題，我非常喜歡、第一部電影裡有一個聲音、

which is very much the sort of the centerpiece that holds everything together, sung by a woman called Loire Cotler, who's just a phenomenal artist.

這在很大程度上是一種核心內容將一切凝聚在一起、 由一位名叫盧瓦爾-科特勒（Loire Cotler）的女士演唱、他是一位了不起的藝術家。 [盧瓦爾河歌聲]

A friend of mine saw her on YouTube and went, "This is an extraordinary voice."

我的一個朋友在 YouTube 上看到了她然後說："這是個非凡的聲音"

She knows the limits of what her voice can do, and she is right at the limit of where she will never ever be able to sing again.

她知道自己嗓音的極限、她正處於在那裡，她將永遠無法再唱歌。

So she dares, she dares to go to that place.

所以她敢，她敢去那個地方。

The score for "Dune: Part One," and "Dune: Part Two" is very much the same players, and it's very much the players that are in my band when I play live.

沙丘》的配樂：第一部分和《沙丘》：沙丘：第二部》也是如此、 球員們在我現場表演時，他們都在我的樂隊裡。

I think what differentiates the score from many, many other scores is it's not an orchestral score,

我認為得分的區別在於從許許多多其他分數中 是它不是管絃樂配樂、

it's a score played entirely by virtuoso musicians.

這完全是由音樂大師演奏的樂譜。

You throw a challenge out, they just eat it up like lions, you know?

你提出挑戰、他們就像獅子一樣吃掉它，你知道嗎？

It's like, "Go crazy. Do something we have never done before." That's the general motto.

這就像，"去瘋狂吧。做一些我們從未做過的事"。 這是我們的座右銘。

Well, let's stick with Guthrie Govan who I've heard play.

好吧，還是說說我聽過演奏的格思裡-戈萬吧。

I saw him on Facebook, I saw him on YouTube.

我在 Facebook 上見過他，在 YouTube 上見過他。

I finally wrote to him on Facebook.

最後，我在 Facebook 上給他寫了一封信。

It took three months.

花了三個月。

I get a reply going, "I know you're just a 14-year-old fan boy. I know you're not Hans Zimmer at all."

我得到了回覆、"我知道你只是個 14 歲的小粉絲。 我知道你根本不是漢斯-齊默。"

So I had to then, blah blah blah, so it went back and forth to prove that I actually was who I was.

所以我不得不這樣，等等等等、就這樣來來回回來證明我就是我。

Tina Guo, my cellist, I met through a friend of mine.

我的大提琴手 Tina Guo 是我通過朋友認識的。

I was very stuck when I was writing "Wonder Woman."

我在寫 "神奇女俠 "的時候非常困惑。

I didn't know how to write "Wonder Woman."

我不知道怎麼寫 "神奇女俠"

I did not know how to write that character.

我不知道該怎麼寫這個角色。

And then I remembered Tina, 'cause Tina is very proper, very gentle, and then she takes her cello, and she turns into a banshee.

然後我想起了蒂娜、因為蒂娜非常得體，非常溫柔、 然後她拉起了大提琴、[漢斯模仿小爆炸] 她就會變成女妖。[蒂娜演奏大提琴]

But since I know the virtuosos, the people that I'm going to be working with, I very much write with them in mind.

不過，既然我認識大師們、和我一起工作的人、 我在寫作時非常關注他們。

There was a whole very interesting group of French musicians slash scientists who came in, who'd spent 10 years inventing a keyboard that could do all sorts of, you know,

有一個非常有趣的小組來的法國音樂家和科學家、 他花了 10 年時間發明了鍵盤你知道，它可以做各種各樣的事情、

without going into the technicalities, basically, if you do this, all that happens is it's a switch that goes on and off, right?

不談技術問題、基本上，[鋼琴鐘聲] 如果這樣做，就會出現開關故障是嗎?

Or you can play a little quieter.

或者你也可以演奏得安靜一些。

But they had managed to make a keyboard where you could express pretty much any emotion that you could express on a violin or any of those other instruments that we keyboard players are always so incredibly envious of,

但他們還是設法制作了一個鍵盤在那裡，你可以表達幾乎任何情感 你能用小提琴表達的 或任何其他文書我們鍵盤手總是 讓人無比羨慕、

because they can express true emotion.

因為它們能表達真實的情感。

It's a keyboard called the Osmose.

這是一款名為 Osmose 的鍵盤。

And at the same time, they had speaker systems, which they, it really came from the beginning of the 20th century.

同時，他們還有揚聲器系統、它確實來自 20 世紀初。

A speaker would be made out of wood and very organic materials.

揚聲器由木頭製成和非常有機的材料。

So all over our studio, there were these sculptures.

於是，我們的工作室裡到處都是這些雕塑。

And a lot of the instruments we were using ourselves were were made by a sculptor.

很多樂器都是我們自己使用的是由一位雕塑家製作的。

There's a man called Chas Smith who lives in Northern California.

有個叫查斯-史密斯的人他住在北加州。

He's a pedaled steel guitarist, but he's a welder as well.

他是一名踏板鋼吉他手，同時也是一名焊接工。

And he doesn't just weld bridges and buildings, but what he's really interested in is making strange musical instruments.

他不僅焊接橋樑和建築、但他真正感興趣的是正在製作奇怪的樂器。

And he seems to have some unholy alliance, which I've never quite figured out with the Boeing Corporation who give him scrap metal and things.

他似乎還結成了某種邪惡的聯盟、我一直不明白與波音公司 誰給了他廢銅爛鐵之類的東西。

And he explains the metal to me, and it has names that I've never heard of and can't repeat.

他向我解釋了這些金屬、它的名字我從未聽說過，也無法重複。

And part of his whole ethos is that everything has to be made out of scrap.

他的全部精神的一部分就是，一切必須用廢料製作。

And so these things which you can bow or play or rub or kick or hit with hammers, or it can be the most gentle sounds, it's truly the sound of the monster under the earth, very Dune-like.

是以，這些你可以鞠躬、彈奏或摩擦的東西或用腳踢，或用錘子砸、 也可以是最溫柔的聲音、 這真是地底怪物的聲音、非常像沙丘。

The movie tells you what it wants and what it rejects.

電影告訴你它想要什麼，拒絕什麼。

You have to listen.

你必須傾聽。

And one of the things great musicians do, it's not how well they play, it's how well they listen, how well they listen to each other.

這也是偉大的音樂家所做的事情之一、不在於他們彈得有多好，而在於他們聽得有多好、 他們相互傾聽的程度。

I usually spend a lot of time looking at color charts or sitting with the DP or just looking at the way things are graded from the previous movie or where we're going now, what the costumes are.

我通常會花很多時間查看顏色表或與民主黨坐在一起 或者只是看評分的方式或我們現在要去的地方、 服裝是什麼？

Chris Nolan and Denis, we have this process whereby I don't really read the script.

克里斯-諾蘭和丹尼斯我們有這樣一個過程，我並不真正讀劇本。

I ask them to tell me the story, because then I know what's in their head.

我請他們給我講故事、因為這樣我就知道他們腦子裡在想什麼。

And then straight away it's off to the designs and the DP and what's the color spectrum going to be like, because I have this sort of, and it's hard to describe.

然後就直接開始設計和設計圖色譜會是什麼樣的？ 因為我有這種而且難以描述。

Look, all I can tell you is there's a few frames in "The Lion King," the original "Lion King," and I only had a black and white drawing,

聽著，我只能告訴你有幾幀畫面獅子王》中的 "獅子王"。 而我只有一張黑白畫、

and the colors and what the music is doing is completely wrong and it clashes and nobody seems to understand that other than me.

色彩和音樂是完全錯誤的，它與 除了我之外，似乎沒人明白這一點。

But for me it's fingers down a chalkboard.

但對我來說，這就像用手指在黑板上寫字。

So yes, I'm insane, you know, I admit it.

所以，是的，我瘋了，你知道，我承認。[採訪者笑]

Let's have a quick look at this sequence here, which is "The Quiet Between The Storms."

讓我們快速瀏覽一下這個序列、這就是 "暴風雨間的寧靜"。

And I see here it's still labeled as "Hans Zimmer Love Theme," which might give you a hint.

我看到這裡還貼著標籤作為 "漢斯-齊默愛情主題" 這可能會給你一些提示。[輕柔空靈的音樂]

I was trying to create the sound of sand and just atmospheres, nothing, you know, just this stillness, this wind going across the desert.

我試圖創造出沙子的聲音和氣氛、 什麼都沒有，你知道的，就是這樣靜靜地、風穿過沙漠

And the tune really comes from the original bagpipe tune, which used to be fast.

而這首曲子確實來自最初的風笛曲調、以前速度很快。

And then at one point, Loire and I sat down and said, "What happens if we perform this tune very slowly," and then of course somehow in the way we work,

有一次，盧瓦爾和我坐在一起說"如果我們非常緩慢地演奏這首曲子會怎樣？" 當然還有我們的工作方式、

it's like somehow it ended up with Pedro saying it would be good on the duduk, but of course it cannot be played on an ancient instrument because it doesn't have all the notes.

好像不知怎麼就佩德羅說這對杜杜克舞很有幫助、 但當然不能用古琴演奏因為它沒有所有的音符。

So we went to Home Depot and had to modify his instrument.

於是我們去了家得寶他不得不改裝他的樂器。

Home Depot is where they have pipes.

家得寶（Home Depot）就有水管。

We can extend the length of a flute.

我們可以延長笛子的長度。

Home Depot is our secret instrument building site.

家得寶是我們的祕密樂器製造基地。

So Home Depot has been very important in creating the score for "Dune."

是以，家得寶一直非常重要為 "沙丘 "配樂。

It really has.

確實如此。

So if I just play you this by itself, you'll hear the beauty of.

所以，如果我只給你放這一段，你會怎麼做？你會聽到 [輕柔空靈的音樂]

And the thing about Pedro is there's a heart, there's a soul, there's a loneliness, there's a longing in his performance, which is so extraordinary.

佩德羅的特點是有一顆心、有靈魂，就有孤獨、 他的表演充滿了渴望、 這是如此非凡。

I mean, I put the barest minimum of things around him.

我是說，我在他身邊放了最起碼的東西。

It's just this little high note above him.

只是他頭頂上的這個小高音。[輕柔空靈的音樂]

And to me, it felt like the endless gaze across this planet.

對我來說，這就像是無盡的凝視穿越這個星球。 [輕柔空靈的音樂]

And it felt incredibly intimate.

而且感覺非常親切。

So when Paul and Chani are sitting there talking to each other.

是以，當保羅和夏妮他們坐在那裡互相交談。

And the way they mixed it, the way Denis mixed it as well in the film is it's like the whole atmosphere shifts and it just becomes this incredibly intimate moment between these two characters.

還有他們混合的方式、丹尼斯在電影中的混合方式就好像整個氛圍都變了 這一刻變得無比親密這兩個人物之間的關係。

I'd very much like to be equal to you.

- 我非常願意與你平起平坐。

Maybe I'll show you the way.

- 也許我會給你帶路。[史詩般的振奮人心的音樂]

There is this sort of a gentle chorus.

- 有一種溫柔的合唱。[輕柔空靈的音樂]

And it's just how he placed those first notes here.

他就是這樣把第一個音符放在這裡的。[輕柔空靈的音樂]

There's such longing.

有這樣的渴望。[輕柔空靈的音樂]

I mean, there's real poetry and you just hear Tina very slightly behind on her electric cello.

我的意思是，有真正的詩歌你只聽到蒂娜微微 在她的電子大提琴後面。 [輕柔空靈的音樂]

You know something?

你知道嗎？

I've done a lot of movies and I love doing movies and I love writing music, and you know why?

我拍過很多電影我喜歡拍電影，喜歡寫音樂、 你知道為什麼嗎？

'Cause I still haven't written a thing that I think is really the most beautiful love theme.

因為我還沒有寫出任何東西我認為這才是最美的愛情主題。

I'm still learning.

我還在學習。

I'm still searching, I'm still investigating,

我還在尋找，還在調查、

I'm still exploring, I'm still experimenting.

我還在探索，還在嘗試。

The advantage I have is that I have a partner in Denis Villeneuve who is sort of on the same side.

我的優勢在於我有一個合作伙伴丹尼斯-維倫紐瓦也是同一類人。

We never butted heads over anything.

我們從未在任何事情上發生過爭執。

Sometimes the quality of a wine, maybe.

有時可能是酒的品質。

One of the things which was interesting about the way Denis built "Dune" was the first movie really is an introduction.

其中一件有趣的事情是關於丹尼斯建造 "沙丘 "的方式 是第一部電影真正的介紹。

It introduces the characters, introduces where the plot is probably heading.

它介紹了人物、介紹了情節的大概走向。

The second movie actually gives you the grit, gives you the action, gives you the [speaks German], as we would say in my home country.

第二部電影實際上給了你勇氣、給你行動，給你[德語]、 在我的家鄉就是這麼說的。

And this is "Harvester Attack," and because it says attack, you might not think it's a love theme.

這就是 "收割機攻擊"。因為上面寫著 "攻擊"、 你可能不會認為這是一個愛情主題。[史詩音樂]

We were gonna be completely fearless.

我們將無所畏懼

We were gonna go and embrace dissonance.

我們要去擁抱不和諧。

We were going to embrace a complete punk.

我們要擁抱一個徹底的朋克。

Oh God, here I am giving it away.

天啊，我竟然把它送人了。

Yes, there was a period in my life where I wasn't wearing a nice jacket and I was a bit more, was in a punk band.

是的，在我的生命中曾有一段時期我沒有穿漂亮的夾克 而我則是一個朋克樂隊的成員。

And some of that stuff came back, and that mentality when you wanna go and do an action scene comes in very handy.

有些東西又回來了、你想走時的那種心態 和拍攝動作場面都非常方便。

What's appropriate for the way I think we worked on "Dune" is that the female power is a really important story component, and certainly my three percussionists are female and they hit things harder than most guys ever hit things.

我認為我們在 "沙丘 "中的工作方式是合適的是女性的力量 是一個非常重要的故事組成部分 當然，我的三位打擊樂手都是女性 他們打東西的力度比大多數人打東西的力度都要大。

I used to work with Sheila E. as well, who was Prince's drummer.

我以前也和 Sheila E. 共事過、他曾是王子的鼓手。

So it just seemed appropriate to have my wonderful female percussionist come and give this a bit of energy and a bit of just rage, which is what it needed.

所以這似乎很合適讓我出色的女打擊樂手 並賦予它一點活力和一點憤怒、 這正是它所需要的。 [歡快的史詩音樂]

Richard King, our sound designer, who is, I'm just gonna say it, who's the god of sound designers for me.

理查德-金，我們的音效設計師、我就直說了、 他是我心目中的音效設計師之神。

I mean, we've done so many movies together.

我是說，我們一起拍過那麼多電影。

We've done all the Christopher Nolan movies together.

我們一起完成了克里斯托弗-諾蘭的所有電影。

There's a great amount of inventiveness that is going on in what he does sonically, and there's an enormous amount of bandwidth he uses up.

有大量的創造性在他的音樂創作中、 而且他佔用了大量帶寬。

And of course, when you see a huge harvester, there's this huge machine.

當然，當你看到巨大的收割機時也是如此、有一臺巨大的機器。

Leave some room for Richard, you know?

給理查德留點空間，知道嗎？

And at the same time, he is a gentleman, and he will leave some room for me.

同時，他還是一位紳士、他就會給我留點空間。

So there's this constant sense of trading off and collaborating.

是以，人們總是感覺交易與合作。

There's a record company that makes cheap knockoffs of my tracks because they make some money out of that.

有一家唱片公司製造廉價的山寨貨因為他們從中賺了些錢。

So it always makes me laugh because they sound terrible.

是以，這總是讓我發笑，因為他們聽起來很糟糕。

So a while back, this is many years ago,

所以前不久，這是很多年前的事了、

I put on one of them because I always wanted to really have a laugh about it.

我穿上其中一件，因為我一直想以真正一笑置之。

And it was a track which was impossible to play by a real orchestra.

這是一條無法演奏的曲目由真正的管絃樂隊演奏

And I'm listening to this thing and it's better than my version of it.

我在聽這個東西而且比我的版本更好。

And I'm looking, and it's somebody called Steve Mazzaro who did this arrangement.

我一看，是一個叫史蒂夫-馬紮羅的人是誰做了這樣的安排。

So I hunt him down in Los Angeles,

於是我在洛杉磯找到了他、

and at first he took me, afterwards, he told me later, he thought I wanted to sue him or something, that he got a phone call from Hans Zimmer.

起初，他把我帶走了、事後，他告訴我、 他以為我想起訴他什麼的、 說他接到了漢斯-齊默的電話。

But I said, "No, no, it's absolutely brilliant. I think your work is absolutely brilliant. I think you should come over to the studio and I think we should have a chat."

但我說："不，不，這絕對精彩。我認為你的作品非常出色。 我覺得你應該來工作室一趟我想我們應該談談。"

And he goes, "Well, actually, I've been here now for two years and it hasn't worked out. My career, it hasn't worked out."

他說："其實是這樣的、我在這裡已經兩年了，但還沒有成功。 我的職業生涯沒有成功"。

He was working in the computer filing department of an accounting firm.

他在電腦檔案部工作會計師事務所。

So that was obviously not what he had aspired to as a great musician.

是以，這顯然不是他的願望作為一名偉大的音樂家。

So he had packed up everything and bought his return ticket to Ohio or Oklahoma or something with an O.

所以他收拾好了一切並買了回俄亥俄州或俄克拉荷馬州的機票 或帶有 O 的東西。

And so, just that moment, at that moment, he was like, "Sell your ticket, come into the studio, you got a job. We're gonna be friends, we're gonna be working together."

所以，就在那一刻，在那一刻，他就像、"賣掉你的票，到工作室來、你有工作了 我們會成為朋友的我們會一起工作"

And so a lot of the creativity of this one is down to Steve's brilliance and everything.

是以，這其中的很多創意這歸功於史蒂夫的才華和一切。

But am I lucky that he didn't catch that plane?

但他沒趕上那架飛機算我走運嗎？

I know you said when you finished the first "Dune" score, you kind of were still in the world of "Dune," still composing. Are you still dreaming in "Dune"?

- [採訪者]我知道你說過，當你完成後第一部《沙丘》配樂、 你還沉浸在 "沙丘 "的世界裡仍在作曲 你還在 "沙丘 "裡做夢嗎？

Second day of shooting, Denis puts "Dune Messiah" on my desk, doesn't say a word.

- 拍攝第二天丹尼斯把 "沙丘彌賽亞 "放在我桌上、一言不發

I know where we're going.

我知道我們要去哪裡[輕盈空靈的音樂]