虽然有人已经收到了 可是大部分的人还在望穿秋水.... LA TIMES MAGAZINE 12月号网页上有部分内容 大家先解解馋... http://www.latimesmagazine.com/2009/12/michael-jacksonoff-the-wall.html DECEMBER 2009 Michael Jackson Off the Wall LITTLE TRAMP Michael often told me that “Smile” was one of his favorite recordings. I remember we were in the studio, and I came up with the idea at the end of the song to have the piano sound old, like in an old movie theater, with the sound slowly disappearing. Michael told me it would work magically with the short film he had planned for the song. He would walk away from the camera just like Charlie Chaplin did at the end of his movies. He loved Chaplin, said he saw a lot of himself in him. —David Foster Michael常告诉我"Smile"是他最喜欢的录音之一。我记得我们在录音室的时候， 我想到一个点子是在歌曲结尾的加入古老的钢琴声，像在老戏院中听到的一样， 然後那声音逐渐消失。Michael告诉我说，这点子会让他想帮这首歌拍的短片有着 极佳效果。他会逐渐走出镜头，就像Charlie Chaplin在电影中一样。他很喜欢 Chaplin，他说他在他身上看到很多他自己。—David Foster (短片呢？为何後来没有拍呢？) RENAISSANCE MAN During the summer of 2008, I received an email from Michael’s assistant asking if I could come to Las Vegas to talk about a new project...Michael and I sat down. “I’m back working,” he said. He looked around the room and waved his arms: “This is just temporary. I’m building this new place not too far from here. And I want you to do these huge paintings of me and the kids that will hang on all the walls.” 2008年的夏天，我收到Michael的助理的email问我是否可以来Las Vegas 谈一个新计划…Michael和我坐下来谈。“我回来工作了，”他说。他环顾了一下 房间，挥动手臂说︰“这只是暂时的。我正在离此不远的地方建一个新住所。 而且我希望你帮我制作一些我和我孩子的巨幅画作，以後可以挂在墙上。” “Well, how big?” I asked. He pointed to a wall about 20 feet away. “You can come here and set your stuff up and paint. I want to see you work on the art as you go. I want to document the entire thing.” “要多大呢？”我问。他指向20尺外的墙。“你可以来这里装设你的东西，开始画。 我想要看着你作画。我想要记录这整件事情。” He told me how this new place was going to have all his awards and memorabilia for everyone to visit. All the walls he wanted covered in huge oil paintings and murals...He wanted me to think of themes that had a touch of history and sketches that would include him and his children in different settings...Hanging above our heads were a few very large oil paintings, and I said, “Michael, we’ll do them this big, maybe bigger. I’ll see you soon.” —Nate Giorgio 他告诉我，在他的新家他要把它所有的奖座、纪念品摆设出来让大家都可以来参观。 所有的墙上他都要挂上巨幅油画和壁画…他要我构思一些主题，跟历史有关的， 而且可以把他和他孩子的画像都包含在里面…在天花板上也要有巨幅油画， 我说︰“Michael，我们要做的是这麽大的，甚至更大。我很快会再来。” —Nate Giorgio OF MICE AND MICHAEL I’d been asked—as Sony Pictures CEO—to visit with Michael to talk about his passion for film and his desire to get into movies...At this point in his career, Michael was a gigantic force in pop music. 在我当Sony Pictures CEO时，某次我去拜访Michael，谈他对电影的热爱， 以及他想要投入电影…当时的他正是流行音乐界的超级巨星。 “With a song,” I said, “it seems to me that the emphasis is on sound over story. In music videos, the story has to serve the sound. And in films, the sound has to serve the story. No?” “对一首歌来说，”我说︰“音乐的重要性应该大过於故事。对音乐录影带来说， 故事是用来辅佐音乐的。至於影片呢，音乐则是用来辅佐故事的，不是吗？” “You have to get your audience’s attention,” Michael said. “In both films and music. You have to know where the drama is and how to present it...Let me show you.” He took me upstairs, where we stopped in front of a glass terrarium. Inside it, a snake was camouflaged, coiled around a tree branch. Its head was tracking something in the opposite corner. Michael pointed at the object of his snake’s obsession. A little white mouse was trying to hide behind a pile of wood shavings. “你必须要抓住观众的注意力，”Michael说︰“不论是电影或音乐，你都要知道戏剧 性在哪，及如何把它表现出来…让我show给你看。”他带我上楼，我们停在一个玻璃 容器前。在那容器里，有一条蜷曲在树枝边隐蔽着自己的蛇。那条蛇的头正在追踪 另一个角落的一个东西。Michael指着那东西说，那是那只蛇心念之所系。 是一只想要把自己藏身於一堆木屑之後的白老鼠。 I said hopefully, “Are they friends?” 我怀着希望说︰“他们是朋友吗？” “Do they look it?” “他们看起来像吗？” “No. The mouse is trembling.” “不像，那只老鼠在发抖。” “We have to feed my pet snake live mice,” Michael said. “Dead ones don’t get his attention.” “我们必须用活的老鼠来喂我的蛇，”Michael说︰“死的引不起牠的兴趣。” “So why doesn’t he just go ahead and eat it?” “牠为什麽不就乾脆上前吃了牠呢？” “Because he enjoys the game. First he uses fear to get the mouse’s attention, then he waits, building tension. And when the mouse is so terrified it can’t move, our snake will close in.” “因为牠要享受这整个过程。首先，他用恐惧来吸引老鼠的注意力，然後牠等待， 营造张力。当老鼠因为太害怕而不能动时，我们的蛇就会靠近。” That snake had the attention of that mouse, and that mouse had the attention of that snake—and Michael Jackson had my attention. “That’s drama,” he said. 那只蛇吸引了老鼠的注意力，那只老鼠吸引了蛇的注意力─而Michael Jackson则 吸引了我的注意力。“这就是戏剧，”Michael说。 “It sure is,” I said. “This story has everything—stakes, suspense, power, death, good and evil, innocence and danger. I can’t stand it. And I can’t stop watching.” “这当然是，”我说。“这个故事什麽都有了─冒险、悬疑、力量、死亡、 善良与邪恶、无辜和危险。我忍不住想一直看下去。” “Exactly,” he said. “What’s going to happen next? Even if you know what it is, you don’t know how or when.” —Peter Guber “没错，”他说。“接下来会发生什麽事呢？就算你知道接下来会发生什麽事， 你也不知道如何发生、何时发生。”—Peter Guber --

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