我沒有太多製作歌曲 MV 的經驗。可是，這首 OST 歌曲， My Woman (My Man)， 實在是曲詞唱都絕佳。可說是我的摯愛。所以，我嘗試運用 Contemporary Music 的作曲理論，加上 Proust 對時空，即 Time 和 stream of consciousness 的理論，Karol Berger 所提出關於貝多芬音樂中反影 Aesthetic States 的變化作用的概念，歌曲分析學中的 Text Painting，和德國文學家和音樂家在十九世紀文學運動中所提出的浪漫主義特質 — Distancing (遙遠) ，來製作以下MV 短片。在一方面，讓我可以熟悉製片軟件的各種特效和操作，另一方面，我也可以提升歌曲原本想表達的意義，增加其藝術價值。
值得一提，多數在 Youtube 上的 MV 業餘製作，都是以影片為主幹，往往忽略了音樂自身意義的特質，與樂音與影片中流露的 reference meaning 之間的相互關係。我這個 MV 嘗試，希望是可以拋磚引玉，打開多一種欣賞 MV 的角度。
含有對白的MV (較多合唱 Layers)
由於有影像提供了text，所以，聽眾欣賞時也會看影像和歌詞字幕去了解個 MV 的意義。
以下是製作音樂和影片的設計和 underlying idea and concepts。
但為了妨止阻礙聽眾發揮聯想空間，並作自由解讀，所以我只簡略說出整個 MV 的基本設計和要點。
The Male and Female voices belong to different sound tracks. They do not sing in duet, instead, they sing in solo with different keys, but similar tempo.
Each individual song is rearranged in the form of collage, superimposing as a pseudo-duet bitonally. The two Chorus Sections become a duet-like passages, creating a climax to the moment.
This implies a meaning that: Two lovers are distanced, and cannot go on hand by hand.
Music often articulates the meaning of each stanza, and even provides text-painting to some particular words, or word phrases. For example, the lyric in the Chorus section ” 就在內心中….” is highlighted by the eyesight of the male protagonist over the just found key (symbol of the love). Another lyric phrase ” 那個男人依然在妳身旁” is paralleled with an imagined scene of “The Man” who shows his deep concern with his beloved under the falling rain.
The nature of the music is story-telling, notified by the opening and closing scenes in which the young boy singer performs live in the garden. He is the character that sings the story of this unattainable love (19th Century German Romantic sentiment) between “The Man” and “The Woman”, who are also the audience in that particular moment.
Timeline narration is designed in the linear way. Readers/listeners should be aware of each event moving in different temporal-spatial states, albeit without a logical trajectory.
Temporal-Spatial spaces crisscross the states of the present (reality), the past, and the future (mental imagination or dream).
The Present State: Indicated by without using any additional effect in the scene.
The Past State: Uses of black-and-white screen or faded yellow screen background.
The Future State (imagined dream): Uses of soften effect, overblown light or cloudy effects to make the images vague and soft. The overall effect creates a distance between images and viewers, romanticizing the imges and the scene to a certain extent.
Additional FX effects are added to emphasize the particular moment when there is a sudden shift of the temporal-spatial spaces over the stream of consciousness of the protagonists’s minds.
Montage (small window) is frequently employed in the climatic moments, adding extra-reference meanings to the scenes, for example, a “Kissing” polyphony (counterpoint) is used in the final climatic scene. The small frame of the scene shows the kissing of the lovers a second prior to the large frame of the scene in an imagined dream.
Montage is also a technique to create a stream of consciousness of “The Man ” and “The Woman”, showing their mental journeys vascillating between the past memory and the future imagined dream.
A new story is created throughout the MV. Each event has certain linking to the next following event.
Readers/Listeners can create their own understanding of the story through referencing to the time line events.
David Leung (theorydavid)
前言: 在華人的愛情文化裡，很多時候，能夠真摯衷誠地向對方說一聲 “對不起”，是勝過說一萬句 “我愛你”。
梁 Sir 多年前應邀演出一個閒角。坦白說，劇本就唔掂。但 D 評論就話，果個 Headmaster 可以拿最佳男配角，你話係唔係呢?
David Leung (theorydavid)