戏剧盒《漂移》今天正式开演到星期六。我们也趁此机会请到本地独立乐团 The Observatory 和我们作个简单的电邮访问，让大家更了解《漂移》幕后音乐制作的过程。
剧情好看+ 好听的音乐+ 值得称许的影像设计，有请大家一起支持！
以下是和 The Observatory 的电邮访问。为了避免翻译上的疏失，我们决定以英文原汁原味呈现，顺便看看老黄瓜的烂英文。
1. Is there any general concept that the Observatory is trying to follow when doing the music for Drift ?
We don’t usually start off deliberately with a concept. We read the screenplay and also watch the rehearsal footage and react instinctively. What we did for Drift was to try to assign themes to each character and to relate these themes closely so as to establish the relationships between characters. Each theme exudes the essence of the character. And the way characters evolve and psychologically change is also mirrored by shifts musically, some more subtly than others.
2. Are there any difficulties when handling this project?
There weren’t any real difficulties. In fact, with MSN and the internet at our disposal these days, once we email Heng Leun (dramaturg) the music, we immediately get onto MSN to have an indepth discussion to see where we go from there. The biggest creative challenge was how to convey the myriad links between the play’s characters. It’s quite a tangled web of relationships we’re talking about.
3. Are there any pieces which the Observatory particularly liked it/them ? Why?
I think for us, creating all the pieces and seeing them fall into place somehow, in our haphazard manner of working, was very rewarding. Particularly with the Prologue and the Epilogue, those were the most fun I suppose. The Prologue was utterly spontaneous, we made all sorts of sounds using an assortment of bells, wood blocks, tambourine, drums, shells, chestnut husks, different Asian flutes, keyboard instruments, etc. It felt liberating to be ‘improvising’ rather than ‘composing’. It was a very fluid, non-structured but focused process.
4. Do you consider Observatory very niche? As an English Indie band, do you think that the market in Singapore for Indie music is still very very small?
I think our music isn’t exactly mainstream but it isn’t niche either. And by niche, I mean inaccessible. It is for people who want something more than just background music. It’s not wallpaper stuff, and it does require a certain amount of open-mindedness, should I say. I’m not in a position to comment on how small or insignificant our Singapore market is. I have a feeling that is what you’d think I’d say. But the fact is, if we were concerned with that kind of ‘marketplace’ capitalist business mentality, we wouldn’t be making music at all. That’s not the same as saying we’re not interested in survival or doing this for a living. But it’s important that we stay impassioned about what we do, otherwise there would be no point to it. As we said before, the internet is a vast enormous community and that is the market I suppose. For us, it is not about what works commercially. It’s about doing what we like, whether it works or not.
5. What actually kept all of you moving on till now?
I think we are genuinely happy making music together. It’s obviously something that fuels our imagination and keeps our creative juices flowing. That’s the whole purpose of life, isn’t it? To be happy and fulfilled?
6. So what kind of music do you all listen in private?
Oh-kay, we all listen to various types of music. Go onto our myspace www.myspace.com/theobservatoryband
or our website www.theobservatory.com.sg, if you really want to checklist ALL our influences
7. If Madonna or Mariah Carey approaches us for their new album, we will ...
probably say thanks but no thanks.
＄60， ＄50， ＄40， ＄28
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