"...With very few exceptions, their films have no meaningful spoken dialogue—most have no spoken content at all, while some, like The Comb (1990) include multilingual background gibberish that is not supposed to be coherently understood. Accordingly, their films are highly reliant on their music scores, many of which have been written especially for them by the Polish composer Leszek Jankowski. In 2000, they contributed a short film to the BBC's Sound On Film series in which they visualised a 20-minute piece by the avant-garde composer Karlheinz Stockhausen. Whenever possible, the Quays prefer to work with pre-recorded music, though Gary Tarn's score for The Phantom Museum had to be added afterwards when it proved impossible to licence music by the Czech composer Zdeněk Liška...."
2009-05-05 23:10:18 小屁
?2009-05-07 02:09:20 Green Bird
你知道他们大多喜欢用谁的音乐吗？2009-05-07 02:09:35 Green Bird
我觉着挺好.2009-05-21 21:58:22 [已注销]
嗯，隔了3，4年，印象有点不清了，隐约记得音乐挺好的，只是当时大概觉得和画面本身配合不算十分出彩吧。有机会重温一下 ：）2009-06-07 21:20:53 小屁
http://en.wikipedia."...With very few exceptions, their films have no meaningful spoken dialogue—most have no spoken content at all, while some, like The Comb (1990) include multilingual background gibberish that is not supposed to be coherently understood. Accordingly, their films are highly reliant on their music scores, many of which have been written especially for them by the Polish composer Leszek Jankowski. In 2000, they contributed a short film to the BBC's Sound On Film series in which they visualised a 20-minute piece by the avant-garde composer Karlheinz Stockhausen. Whenever possible, the Quays prefer to work with pre-recorded music, though Gary Tarn's score for The Phantom Museum had to be added afterwards when it proved impossible to licence music by the Czech composer Zdeněk Liška...."
2010-04-29 00:49:14 默 (心无挂碍 无挂碍故无有恐怖)
我很喜欢里面的音乐> 我来回应