Yu Fei, the music supervisor of eight hundred: Guan Hu has only two requirements for music

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 Yu Fei, the music supervisor of eight hundred: Guan Hu has only two requirements for music


Yu Fei first saw the cut version of the film in the Spring Festival of 2018. The so-called cut version refers to the version arranged one by one according to the time sequence of the movie script. It is nearly twice as long as the public version. The first time I saw it, I cried so much that I felt shocked. Yu Fei said. There is no music, no emotional contrast and montage techniques such as parallel editing to increase the dramatic tension, but Yu Fei is still deeply moved by the plot in the film. In fact, the director has put forward two main requirements for music. One is to devote himself wholeheartedly, not to do it as ordinary money making work; the other is not to highlight a certain character, but to create theme music with 800 soldiers as a group image. Most film music will be created according to different roles in the creation of relevant themes, but eight hundred is a group play, there is no obvious hero in the film, hoping to highlight all the brave 800 soldiers. These characters are cowardly, timid, and growing.

Director Guan Hu, Yu Fei and sound designer Fukang discuss sound music creation together

A month later, director Guan Hu was very satisfied after reading the reference music eight hundred, and then the film officially invited the two composers to write. Yu Fei did not cooperate with Guan Hu before. It was the crew who recommended her. The directors mind is very open, and gives me unlimited creative space. The communication between the two people in the film music is very smooth, even the whole late process did not have differences. If the director recognizes your professional ability and music judgment, and he thinks you can bring something new, he will unconditionally choose to trust you and let you freely create. All the communication process is extremely pleasant.

Bocelli was asked to sing in the hope that the world would see this history

The last song of the movie eight hundred was performed by Italian blind tenor Bocelli and Chinese pop star Na Ying. Speaking of this slightly cross-border cooperation, Yu Fei said that at the beginning of the film, he decided to go to sea - not only for the Chinese people to see, but also for the whole world to see the film. In a certain sense, the battle for the protection of the warehouse in the film is a play for foreigners in that special era, which adds chips to diplomatic negotiations. At that time, foreigners did not give us help. Now China has made such films, hoping that more people can see that China is no longer backward and we no longer hope for external forces. Inviting Bocelli, who has performed in the world cup and Olympic Games, to sing the theme song will undoubtedly make the film more international.

Eight hundred final song by Bocelli and Na Ying

Bocelli himself has done a lot of preparation for the recording of the final song. Before taking over the project, the Chinese staff will be asked about the background of all the stories, and even some of the contents of the script, so that people around him can tell him. He also very much approved of the films north-south coast and East-West dialogue design. He practiced many times in advance and listened to the demo over and over again. Finally, the recording of the song was completed on a yacht. Yu Fei also brought a picture of the movie eight hundred to him at that time. Although he cant see it, he can feel the history. Bocelli himself also wanted to let more people hear the song, so he made an Italian solo version and released it.

Two Hollywood composers heard my motherland from folk opera

Rupert Gregson Williams and Andrew kawczynski, two Hollywood composers who have composed for films such as bloody chainsaw ridge, Dunkirk and sea king, are making soundtracks for 800. Is there any risk for foreigners to compose music for such a historical film with a heavy mission? Can they understand and feel the history? Yu Fei conveyed Guan Hus request to her not just to be a wage earner to them. Yu feirang and his two composers listened to a lot of Chinese music before they created, from Chinese five tone and seven tone music and folk opera to music during the Anti Japanese War and the Yellow River Chorus, including modern music and symphonic poetry. They explained the evolution of Chinese music to them in different periods, and finally went back to 1937 to tell them the rudiment of music needed by the film and what kind of texture they hoped to have. The two composers also want to start from the original version of the cut, each time the next edition has been seen, where the modification and deletion are familiar. Everyone has read the complete script translated, done a lot of homework, and spent nearly 2 years in this project.

Yu Fei and composer in the studio

After entering the stage of music creation, Rupert and Andrew are more admirable for their professionalism: for example, how to play traditional Japanese drums when Japanese attack? How to play Chinese drum? What texture should the drum sound be when the title of eight hundred appears? How should the materials of small percussion instruments and various Japanese drums be interspersed? They all have detailed design and unique consideration.

Composers and musicians study drumming in the studio

Why Londonderry minor?

It is not difficult for those who are familiar with foreign music to find that the melody of Suzhou Creek is adapted from the Northern Irish folk song Londonderry minor. Why use a foreign folk song as the ending of a Chinese movie? Yu Fei said that in the film, there was a scene in which a soldier played the harmonica in the warehouse. At that time, he played the melody of Londonderry minor. This clip came from the suggestion of the military Consultant: the 88th division was a German mechanical division, and they were greatly influenced by the West. Moreover, they were in Shanghai in 1932 and then stationed in Wuxi and Suzhou, where the culture and education were developed, There are also many missionaries, so they use foreign folk songs to reflect the special identity of the officers and soldiers of the 88th division. Because this melody is used in the film, at the end, I hope to form a echo from the beginning to the end, and use the melody again. At the end of the day, the wind review of Suzhou Creek is also good. The way of chorus at home and abroad has been recognized by netizens at home and abroad, which shows that everyone has a high degree of tolerance. This achieved our original goal - music is borderless, and more people can understand the film and deliver a message of peace.

A good composer is not necessarily a good film composer

Talking about what kind of music is good for war movies, Yu Fei said: from a technical point of view, first of all, war film music needs to be restrained relatively. For sound creation, this is a balance of frequency. There is so much spectrum. If you have sound effect and music sound, you should cooperate with each other and avoid each other to reflect the effect that you want to express most. War movies must not let the music sound effect fight, in the end, no one can hear clearly, the audience also feel headache. I would prefer to subtract the music of war movies. Except for the commercial films that need to set off some atmosphere, try not to use music where you can. Of course, this is not absolute, but also related to the directors personal style. In Nolans Dunkirk, the music is so loud that its even full of music. Secondly, we hope that the audience can think about the war movie. Its not a popcorn movie, but music is very important in emotional transmission. This is why we set the ending song to be quiet and then surging. It turns out that the effect is very good. Many audiences also feedback that they can sit down and watch the end at the end of the movie. Everyone will think of something in their hearts, whether it is uncomfortable or surging, which is what we hope to bring to you.

When it comes to the characteristics of film music, Yu Fei said that it is only an accompanying state: many times, a good composer is not necessarily a good film composer, because the film music does not need to be written with extravagance, it is more in the auxiliary, service picture, and gives the film a deeper spiritual meaning. Yu Fei had both achievements and regrets when he participated in the production of eight hundred music: all the staff behind the scenes are like eight hundred heroes. Everyone is very dedicated from the beginning to the end, and everyone has played a role in his own post. This time, the music team has more than 200 people. All of them regard this production as their own children, watching it grow up and finally showing such a result. Talking about regrets, Yu Fei said that its normal that every film has regrets, but no matter what, its the best we can do at present. Source: Netease Entertainment manuscript editor in charge: Yang Ming_ NV5736

Yu Fei had both achievements and regrets when he participated in the production of eight hundred music: all the staff behind the scenes are like eight hundred heroes. Everyone is very dedicated from the beginning to the end, and everyone has played a role in his own post. This time, the music team has more than 200 people. All of them regard this production as their own children, watching it grow up and finally showing such a result.

Talking about regrets, Yu Fei said that its normal that every film has regrets, but no matter what, its the best we can do at present.