Name: 聽《銀翼殺手》的音樂！ (Listening To Blade Runner)
Uploaded: 2026-03-16T17:16:52.000Z
Duration: 8 min 6 s

It's impossible to imagine the long awaited sequel to Blade Runner without some version of the iconic music that Vangelis composed for the original.

要是沒有 Vangelis 為《Blade Runner》創作的經典音樂，很難想像這部眾所期待的續集。

轉承詞

That's because the Blade Runner score is more than a score.

因為《Blade Runner》的配樂不只是一般的配樂。

It's an indispensable element of the movie.

它是電影中不可或缺的一部分。

I mean, you could make that argument about almost all film music.

我是說，你對幾乎所有的電影配樂都可以這樣說。

A movie minus its music is not the same movie.

一部電影沒有了音樂，就不是同一部電影了。

I mean, that's true too, if you were to swap one kind of music for another.

我是說，如果把一種音樂換成另一種，這也說得通。

In the video I did on Howard Shore's incredible leitmotifs in the Lord of the Rings, I tried to show how the score helped guide and elevate the emotional beats of the story.

在我之前關於 Howard Shore 在《魔戒》中令人驚豔的主題動機的影片裡，我試著說明配樂是如何引導和昇華故事的情感節奏。

It's a great work from a great composer and hugely influential on the trilogy.

這是位偉大作曲家創作的偉大作品，對這部三部曲影響深遠。

But I think Blade Runner's music is different.

但我認為《Blade Runner》的音樂很不一樣。

The score isn't laid on top of the visuals.

這段配樂不是疊加在畫面上的。

The music is sort of baked into the DNA of the movie itself.

音樂彷彿已經融入了電影本身的 DNA 裡。

All the audio that you hear, including score, sound, design and dialogue, it's tightly integrated.

你聽到的所有音效，包括配樂、音效設計和對白，都緊密地整合在一起。

This integration is really what separates Blade Runner from other science fiction films.

這種整合，才是《Blade Runner》與其他科幻電影的區別所在。

After all, electronic music had been a staple of science fiction cinema for three decades by then, going all the way back to Bernard Herrmann's use of the theremin in the Day the Earth Stood Still.

畢竟，電子音樂在那時已經是科幻電影的標配了，最早可以追溯到 Bernard Herrmann 在《地球停了下來》中使用的泰雷門琴。

Herrmann and other revolutionary composers like like Lewis and Bebe Baron used winding, bending, sputtering electronic sounds to evoke aliens and alien planets.

Herrmann 和其他革命性的作曲家，像是 Lewis and Bebe Baron，使用蜿蜒、彎曲、斷斷續續的電子聲響來營造外星人和外星球的感覺。

Blade Runner is somewhere in the middle between the amelodic soundscapes of Forbidden Planet and the grand symphonic themes of something like Star Wars.

《Blade Runner》介於《禁忌星球》那種無旋律的音景，以及像《星際大戰》那樣宏偉的交響樂主題之間。

Mengelis is pulling from that same toolbox of electronic sounds.

Mengelis 也是運用了同樣的電子聲響工具箱。

But these noises are put to use for a more musical purpose.

但這些聲響被用來達到更具音樂性的目的。

In order to achieve that dreamlike quality that the film has.

為了達成這部電影那種夢幻般的質感。

The audience shouldn't be able to identify where the music music ends and the world begins.

觀眾應該無法分辨音樂在哪裡結束，世界的聲音又從哪裡開始。

The atmospherics that infuse this scene are a good example of what I'm talking about.

瀰漫在這個場景中的氛圍，就是我所說的一個好例子。

They sound a little bit like wind chimes, something that could very well be in the space and match pretty well with the dancing light on the walls.

聽起來有點像風鈴，很適合出現在太空裡，也跟牆上舞動的光影很搭。

And yet the sound is so layered with faint computery noises that it could also be a machine somewhere in the room.

然而，聲音裡又層層疊疊著微弱的電腦雜訊，聽起來也像房間裡的某臺機器發出的。

It also serves as a kind of atmospheric bed from which the clearly non diegetic not in the world strings rise as Rachel enters.

它也像是個氛圍床，讓瑞秋進場時，那明顯的非戲劇性、不在世界裡的弦樂聲就從這裡升起。

Even the dialogue has a lot of reverb, giving it the same dreamy quality as the score.

就連對話也有很多殘響，賦予它和配樂一樣的夢幻質感。

Of course, reverberation is absolutely everywhere in Blade Runner.

當然，《Blade Runner》裡到處都是殘響。

You could even say that it's the manipulation of reverb that gives Blade Runner its distinct feeling.

你甚至可以說，正是殘響的運用，賦予了《Blade Runner》獨特的感覺。

And though Vangelis is such a virtuoso at wielding it, the digital reverb that you hear in this movie was something relatively new to me.

雖然 Vangelis 在運用它方面是個大師，但你在這部電影裡聽到的數位殘響，對我來說是相對較新的東西。

The world's first digital reverberation machine, the EMT250, was released only six years before Blade Runner premiered in 1982.

世界上第一臺數位殘響機 EMT250，在《Blade Runner》於 1982 年首映的六年前才問世。

We hear it when we're in big spaces, how our voice reverberates and decays across the room.

當我們身處寬敞空間時，就能聽到聲音如何迴盪並在房間裡衰減。

Digital reverb uses algorithms to extend that decay even more.

數位殘響利用演算法來進一步延長這種衰減。

The Lexicon 224, which is what Vangelis use for Blade Runner, could extend decays up to 70 seconds, allowing you to make spacey, ethereal sounds like this.

Vangelis 用於《Blade Runner》的 Lexicon 224，能將衰減延長至 70 秒，讓你創造出像這樣的空間感、飄渺的聲音。

The emphasis on reverb accomplishes a few things.

As essayist Andrew Stiller noted, heavy reverb, because it implies a huge, enclosed, hard surface space, creates a mood of mystery and paranoia.

正如評論家 Andrew Stiller 所說，大量的殘響暗示著一個巨大、封閉、堅硬表面的空間，營造出一種神祕與偏執的氛圍。

It also gives everything a feeling of distance, as if the audio is coming from far away, like in a dream.

它也讓一切都帶有一種距離感，彷彿聲音來自遠方，就像在夢裡一樣。

And finally, reverberation blends things together.

最後，殘響能將聲音融合在一起。

And this is one of the crucial ways Vangelis folds separate audio sources into one aural master track.

這也是 Vangelis 將獨立的音訊來源融入單一聽覺主音軌的關鍵方法之一。

Every scene is composed to create this cohesive acoustic environment.

每個場景的編排都是為了創造這種連貫的聲學環境。

Sometimes the emphasis is on dialogue or sound effects.

Other times it's on the nostalgic music that calls back to classic film noir.

有時則著重於喚起經典黑色電影的懷舊音樂。

Except that solo saxophone was never actually used in classic film noir, which is a whole nother video.

只是經典黑色電影裡其實從來沒有用過薩克斯風獨奏，這又是另一個影片的主題了。

But anyway, most of these scenes were interpreted by Vangelis on the spot.

不過總之，這些場景大部分都是 Vangelis 當場詮釋的。

The way he composed the music for Blade Runner was by watching the freshly edited scenes on a screen in his studio and playing whatever they evoked in him.

他為 Blade Runner 編曲的方式，是看著剪輯好的畫面，然後彈奏出他當下的感受。

At the time, he used Primarily the Yamaha CS80, an analog synthesizer featured so prominently in Blade Runner that Vangelis has his own section in the CS80 Wikipedia page.

當時他主要使用的是 Yamaha CS80，這是一臺類比合成器，在 Blade Runner 中非常突出，甚至 Vangelis 在 CS80 的 Wikipedia 頁面裡還有專屬的介紹。

Even today, the CS80 is prized among audiophiles.

即使是現在，CS80 在音響愛好者心中仍是珍貴的逸品。

It seems like anybody who ever writes about it describes it as a living, breathing thing.

似乎任何談論它的人，都會形容它是一個有生命、會呼吸的東西。

That's partly down to the fact that the keys were pressure sensitive.

這部分也歸功於它的琴鍵具有壓力感應。

So the sound that it produced has a marvelous acoustic quality.

所以它產生的聲音有著極佳的聲學品質。

In a way, it's the perfect instrument for Blade Runner, a machine with the ability to match the emotional weight of the real thing.

某種程度上，它是 Blade Runner 的完美樂器，一臺能匹配真實情感重量的機器。

See, in one, in one go, you can have from there to there is different Sound to there, which is different.

你看，一下子，從這裡到那裡，聲音就不同了，到那裡又不同了。

Again, As much as possible, Vangelis used his spontaneous first take compositions and the result is a deeply personal reaction to the images.

Vangelis 盡可能地使用了他即興創作的初次錄音，結果是對影像的深刻個人回應。

A second vision that fuses with the director's own.

這第二種視野與導演自己的視野融合。

Vangelis, like the great composer Edgard Vereys before him, attempted to bring to life the complete sound profile of the city, interpreted through the genres of Blade Runner.

Vangelis 就像他之前的偉大作曲家 Edgard Vereys 一樣，試圖透過 Blade Runner 的類型，讓這座城市的完整聲景活起來。

Anybody who's lived in a large metropolis knows that sound is a constant feature there.

任何住在大都市的人都知道，聲音是那裡不斷出現的特色。

At night, you might hear a siren or a scream somewhere in the distance.

到了晚上，你可能會在遠處聽到警報聲或尖叫聲。

We may not have wheezing or sputtering machines, but

我們可能沒有喘不過氣或發出噗噗聲的機器，但

these days we sure have a lot of beeping ones.

現今我們確實有很多發出嗶嗶聲的東西。

Vangelis strings all these disparate noises together with musical themes that are stunning and appropriate.

Vangelis 用令人驚豔且恰如其分的音樂主題，將所有這些零散的噪音串連起來。

When the music swirls, it's as if it's coming from within the characters themselves.

當音樂迴盪時，感覺就像是從角色內心深處發出來的。

Unfortunately, Vangelis isn't coming back for Blade Runner 2049.

不幸的是，Vangelis 不會回歸《Blade Runner 2049》。

His job is going to Johann Johansson, a great composer who's worked with director Denis Villeneuve three times before.

這個任務將交給 Johann Johansson，一位曾與導演 Denis Villeneuve 合作過三次的出色作曲家。

I mean, everybody's gonna be waiting for him to play someone else's iconic music.

我是說，大家都會等著他演奏別人那標誌性的音樂。

If I were him, I'd resist the urge to mimic Vangelis completely.

如果我是他，我會抗拒完全模仿 Vangelis 的衝動。

As much as I'd like to hear every classic note again, the sequel deserves music as personal and human as its original.

雖然我希望能再次聽到每一個經典音符，但這部續集值得擁有與原作一樣個人化且富有人情味的音樂。

I'm excited to hear Johan Johansen's interpretation of a world that so many of us are so eager to return to.

我很期待聽到 Johan Johansen 對這個讓許多人如此渴望回歸的世界的詮釋。

This episode was brought to you by the Great Courses Plus.

本集由 The Great Courses Plus 贊助播出。

The Great Courses plus is an on demand video learning service, which basically means that it's got around 7,000 online video lecture series from some great Ivy League professors and other professors about all kinds of subjects.

The Great Courses Plus 是一個隨選隨看的線上學習服務，基本上它有將近 7,000 個線上影音課程，由許多頂尖大學的教授和其他教授，涵蓋各種主題。

One that I think you should really check out is called Music and the Brain by Professor Patel, which explores in depth the neurological relationship to music over 18 awesome episodes.

其中一個我認為你一定要看看的，叫做「音樂與大腦」，由 Patel 教授主講，共 18 集精彩內容，深入探討音樂與神經學的關聯。

If you go to thegreatcoursesplus.com nerdwriter it's the first link in the description.

如果你到 thegreatcoursesplus.com/nerdwriter，就是說明欄的第一個連結。

You can get a 30 day free trial and after that, annual memberships are $14.99 a month and monthly memberships are $19.99 a month.

你可以獲得 30 天的免費試用，之後年繳會員是每月 14.99 美元，月繳會員是每月 19.99 美元。