I strongly believe that I need to give the musician space to create the most suitable music for the film. By talking together about the emotions and the meaning behind each scene, the composer slowly finds its way into the sound of the film.
It is one of the greatest privileges in my life to work with Hans Zimmer on Dune . He was among the first to came onboard. To create the score for Dune , Hans Zimmer went into the deep desert. When he came back, he brought with him the most beautiful music. If you’ve heard the original soundtrack, you would have recognized that all the soundtracks are inspired by the sound of the wind and the sand. He kept saying to me, Dune ’s music is not from our world. It needs to come from another time, another planet. It needs to do a soundscape that we haven’t heard before. Therefore, he did tons of experiments. He even created new instruments, which led to new musical language.
我堅信我需要給予音樂家足夠的空間去創造最適合電影的音樂。透過和導演共同討論每一個場景背後的情感與意義，作曲家會逐漸找到創造出電影之聲的方向。
能有機會和漢斯·季默合作【沙丘】是我一生中最大的榮幸之一，而他也是最早加入【沙丘】這個團隊的主創之一。 為了給【沙丘】制作配樂，漢斯·季默曾深入沙漠。當他從沙漠回來之後，他為【沙丘】帶來了前所未有的美妙音樂。如果你已經聽過【沙丘】的原聲音樂，你一定能夠聽出來，所有的配樂都有來自風聲、沙漠之聲的靈感。他一直對我說，【沙丘】的音樂不是來自我們這個世界的，它是來自另一個時空、另一個星球，它必須是我們從未聽到過的聲音圖景。因此他進行了無數的實驗，甚至創造了新的樂器，也最終創造出了新的音樂語言。
