聲音設計的10個觀點。

1. Silence 安靜“
The ultimate metaphoric sound is silence. If you can get the film to a place with no sound where there should be sound, the audience will crowd that silence with sounds and feelings of their own making, and they will, individually, answer the question of, “Why is it quiet?” If the slope to silence is at the right angle, you will get the audience to a strange and wonderful place where the film becomes their own creation in a way that is deeper than any other.” — — Walter Murch

“聲音的終極比喻是安靜。如果你的電影裡本該有聲音的地方沒有了聲音，此時，在這種由觀眾自己創造的聲音和感覺裡，他們完全可以獨立地回答這個問題：'為什麼這裡是無聲的？' 如果對於安靜的偏好在一個適當的程度上的話，你會將觀眾引入一個奇妙的境地，電影變成他們用自己的方式獲得的作品，這會比其他任何方式更加深入。

 ”2. Qualities 屬性“

The emotional, physical and aesthetic value of a sound is linked not only to the causal explanation we attribute to it but also to its own qualities of timbre and texture, to its own personal vibration. So just as directors and cinematographers (even those who will never make abstract films) have everything to gain by refining their knowledge of visual materials and textures, we can similarly benefit from disciplined attention to the inherent qualities of sounds.” ——Michel Chion

聲音的情緒、物理屬性以及審美價值三者是聯繫在一起的，不僅是我們賦予它所要表達的結果，還有它自身的屬性​​：音色和音質，以及振動發聲的自我表達。導演和攝影師也一樣，（甚至包括那些決不會拍抽象電影的），他們需要提煉所有關於視覺材料和畫質的知識來獲得經驗，同樣我們也是從嚴謹的觀察才能了解到聲音的本性。

3.Surprises 驚喜“

There's no excuse for having a mental or creative block in sound. You can just go out and collect things in the real world – they make the sound, not you. It's very restricting to always use a library for sound effects. It's much more interesting and freeing to go out and record n​​ew sounds because you never know what you're going to get.” —— Gary Rydstrom

“在聲音裡，其實不應該為在心理上或創意上出現瓶頸而找藉口。你僅僅需要走出去，在現實的世界中收集聲音——它們會自己創造出聲音，而不是你。總是使用聲音資料庫裡的聲音是很受限制的。出去錄音會更有趣和更自由，去錄製新的聲音吧，因為你永遠不知道等待著你的會是怎樣的驚喜！”

4.Opposite 對立“

Sometimes in the creativity area like sound, my instincts tell me to do one thing, but I do exactly the opposite and see what happens. For example, if you're designing a scary weird creature, try putting in a high-pitched, low-level sound. Who knows, maybe that will be scarier.” —— Gary Rydstrom

有時在創造性的領域，比如聲音領域，當直覺告訴我該怎麼做時，我卻剛好相反，看看會發生什麼。比如，如果你正在設計一個可怕的怪異生物，可以嘗試一個高八度、低音量的聲音。誰知道，也許會更可怕一些。

5.Performance 表演“

Mixing is a performance. You sit down at the console. You're alert, and you're playing parts in the picture: You're a robot, you're a door, you're a laser gun. And you get into it. You should be breathing hard and sweating when it's over with.” ——Ben Burtt

混音是一場表演。你在控制台坐下來。你是活躍的，你正在決定電影畫面的一部分：你是一個機器人、你一扇門、你是一桿激光槍。你完全投入進去了，當它完成時，你應該感覺呼吸困難、大汗淋漓。

6.Passion and Joy 熱情和喜悅“

The most important advice I can give is to do this because you love it, and it brings you joy. If it's part of you and you can never get enough, you are on the right track.” ——Frank Bry

我能給出的最重要的建議就是：做一件事是因為你熱愛它，並且它也給你帶來喜悅。如果它是你的一部分，你永遠無法滿足，那麼你已經步入正軌了。

7. Emotion 感情

“The lesson is, don't play the visual, play the emotion.” —— Al Nelson

有個教訓，別玩花俏的音樂了，來點有感情的。

8. Logic 邏輯“

There's a point where you can talk about things logically and then, after that, you have to leave the word of logic. I don't know where a lot of these ideas come from. They just do”. ——Alan Splet

找到一個點可以讓你有邏輯地敘述清楚事情，然後，在那之後，你需要離開那些有邏輯的詞語。我不知道這些想法從何而來。他們只是這麼做而已。

9. Chaos 混亂“
The thing you learn in film sound over the years is that if you have it being loud and chaotic over a long period of time it starts to lose impact, no matter what you do.” ——Gary Rydstrom

如果你很長一段時間，一直處於巨響和混亂中，那麼多年來你在電影聲音中學習到的東西，開始變得毫無作用了，無論你做怎樣的努力。

10. Associations 協作“

It's all about the emotional associations of sounds. It's not about whether they're really technically correct or not. It's about whether they're scary or relaxing or threatening or whatever helps tell the story.” ——Dane A. Davis

這是所有關於聲音情緒的協作，並不是關於它們是否真的在技術上正確。這是關於它們是否很嚇人或放鬆或威脅或任何幫助敘事的協作能力。

整理/小余 中文供稿/影視工業網