??Chapter 124: 123. Ambitious Music Producer_1
Chapter 124: 123. Ambitious Music Producer_1
Fact proved that Hamr had been mistaken.
The script of this film was not common, but rather full of twists and turns.
Having watched the movie and waited until the production credits appeared, Hamr remained silent.
“So, was everything the protagonist experienced just a dream, a dream about the past?”
He couldn’t help but ask Lu Ban.
“Red Leaf had already died many years ago, and her spirit wanted to atone for her sins, so she helped the protagonist kill herself?”
“Is the island real, or just an illusory scene in the fog?”
“If the entire island was engulfed by the flas ignited by Red Leaf at the end, how is the protagonist supposed to survive?”
Hamr had many questions.
When he saw the ending, where Red Leaf’s mories flashed back to those cruel and tragic scenes, where he saw Red Leaf burning herself, dispersing the fog that blanketed the island, and the first rays of sunlight piercing through the mist to illuminate Lu Ban engulfed in pale flas, he felt more lancholy than excited about the resolution.
It was just a short film a little over an hour long, but for so reason, Hamr felt as if he truly had been on an adventure with this shrine maiden, with a faint sadness that was hard to dispel.
He didn’t wait for Lu Ban’s answer, but instead went to the corridor by the window of the studio and slowly lit a cigarette, attempting to soothe his emotional fluctuations with the sharp gas passing through his lungs.
However, as the smoke entered his respiratory tract, Hamr was inexplicably reminded of the sensation of being enveloped in fog at the Summit Shrine, and he coughed violently several tis before snuffing out the cigarette and returning to the screening room.
He saw his assistant also in a daze, imrsed in the film and unable to extricate himself.
Seeing the condition of the two of them, Director Lu confird that there must be sothing wrong with his film.
Yet, the problem wasn’t serious, not like the heart attack induced by Sadako’s videotape causing on-the-spot death.
It was more like an infectious disease, a contamination of s, making viewers feel as if they were in the movie’s scenes themselves.
For instance, the opening scenes of the ocean would make one feel chest tightness and out of breath.
In the Undefined Fog at the Summit Shrine, one would feel their lungs being scorched, wanting to cough.
While playing “One Hundred Poets,” one would feel completely immobile, unable to speak or even close their eyes.
Of course, the sounds coming from all four corners were nothing special, just stereo editing by Lu Ban.
But to Hamr, this was simply freaking aweso.
Just think, experiencing the sa environnt and emotions as the movie’s characters while watching a film—that level of imrsion could only perhaps be matched by a neural shunt.
In the past, Hamr believed that a film that could move him, get his blood pumping, or make his heart race with fear was sufficient.
But now, with Director Lu’s film, it wasn’t about perception transford through visual and auditory sense; it was a firsthand experience, where even the simplest scenes and emotions could cause imnse ripples in one’s heart.
“Director Lu… Teacher Lu, I now feel like my mind is full of inspiration, and your work is truly astonishing. This is the first ti I’ve seen a film so imrsive. Believe , I’ll be able to compose fitting music for your work very soon… No, please, I must score your film!”
Perhaps due to the strong impact, or maybe because musicians tend to be more emotional by nature, Hamr suddenly felt that it was his undeniable duty to create the score.
In film circles, scoring sotis depends on the director’s vision. Many directors have their own regular teams, including cinematography, special effects, and music. Just like the master animator from the Island Country, if he lacked his regular music composer, would those animations still be able to touch hearts?
Therefore, after watching Lu Ban’s film, Hamr made up his mind to take charge of scoring it.
Although part of the reason was that the client had offered too much, Hamr still was a music producer with aspirations. Producing records for pop idols simply wasn’t fulfilling for him. His ultimate goal was to create tiless scores for true blockbuster films.
“Um, I haven’t ntioned where the soundtrack is needed yet…”
Lu Ban added a reminder.
“…Alright, let’s see where the soundtrack is needed. Just say the word, I can handle any style…”
Hamr imdiately took up the conversation.
“So, for example here, I think we could add a bit of Japanese style, sothing graceful, akin to the ambience you’d expect at the opening of a stage drama. Do you get what I an?”
Lu Ban said, pointing to the scene being rewound on the screen where “Lu Ban” and others were entering Song Island.
“…I get it!”
Without a further word, Hamr quickly moved to the synthesizer, adjusted it simply, and then started to play a lody.
It was antique-looking and carried the mournful characteristics of Japanese style.
Moreover, Lu Ban noticed that this lody seed like a variation on the shrine maiden’s humming.
“Impressive!”
Lu Ban applauded.
“I was thinking that we could use a main the throughout our film, applying different variations of it in different scenes, interwoven with other lodies.”
Hamr suggested; so movies make their scores colorful and diverse, with different instrunts for different characters, while others use a main the with variations to convey different emotions.
“Then, for the part where they go up the mountain, I think the performance with this instrunt would be nice.”
Hamr pulled out another instrunt with a bizarre shape. It looked like a violin with its bow and strings, but there were no strings to be found.
He played the lower half of that tune.
A chilling and eerie sound erged, reminiscent of the kind of effect used in horror films the mont a ghost appears, evoking mories of Lu Ban’s own movie-watching experiences.
“This is a waterphone, a special effects instrunt used to create terrifying sounds.”
Hamr explained enthusiastically and quickly notated two separate lodies.
He now felt that a good work indeed could inspire creative desire. Several lodies continuously twined in Hamr’s mind, persistent like whispers in the ear that refuse to dissipate. It seed as if, unless Hamr composed them, these lodies would gnaw at his brain like worms, causing his consciousness to shatter.
Hamr thought that perhaps those great musicians, the geniuses who composed tiless masterpieces overnight, might have experienced sothing similar.
The scoring work went smoothly, and just three days later, Lu Ban received the soundtrack he wanted. In the anti, Lu Ban hadn’t been idle either. He had reworked the rough cut of the film, refining the shots and their expressiveness, and then spent two more days integrating the soundtrack. By the end of the second week, Lu Ban already had a demo reel ready for viewing.
“Next is to submit it to websites for review.”
Lu Ban muttered to himself, opening several video hosting websites.
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