華裔韓華奇夫婿 奧特森奪「音效」兩大奬
2010年03月08日 04:40
（洛杉磯訊）華裔二胡演奏家韓華奇(Karen Han) 的夫婿，瑞士裔奧特森(Paul N.J. Ottosson)因擔任「危機倒數」音效總監，7日贏得奧斯卡「最佳音效奬」和「最佳音效剪輯奬」。
奧特森在「危機倒數」的「音效」與「音效剪輯」兩項，擊敗「阿凡達」、「惡棍特工」、「星際爭霸戰」及「變形金剛：復仇之戰」。
對工作極為慎選的奧特森每年僅為一、二部大片服務，曾在2004年以「蜘蛛人2」獲第83屆奧斯卡「最佳音效」提名，去年僅為電影「2012」 和「危機倒數」進行「音效」製作，結果獲兩項音效獎項。
奧特森說，這是項得獎是專業和工作成果獲得肯定。
韓華奇說，他們一家三口都為「危機倒數」影片「獻聲」，她負責全劇音樂的二胡演奏部分，2歲半的兒子Theldore為劇中小朋友配音，奧特森 勝出，等於是肯定全家人的「聲音」表現，與有榮焉。
奧特森與韓華奇各自有一次失敗婚姻，卻因音樂結緣。兩人很快在對方身上找到強烈感覺。他們從相識到婚後，都與音樂緊緊關連。
危機倒數 The Hurt Locker 2009奧斯卡音效大獎 Paul Ottosson 專訪
Sound Department | ||
| Ray Beckett | .... | sound mixer |
| Simon Bysshe | .... | boom operator |
| Richard C. Franklin | .... | sound effects editor (as Rick Franklin) |
| Alan Freedman | .... | adr mixer |
| Judah Getz | .... | adr mixer |
| Jamie Hardt | .... | sound effects editor |
| Kimberly Harris | .... | adr supervisor |
| Kimberly Harris | .... | dialogue editor |
| Chris M. Jacobson | .... | sound effects editor |
| Chris M. Jacobson | .... | sound effects pre-dub mixer |
| Ryan Juggler | .... | first assistant sound editor |
| Ryan Juggler | .... | sound editor |
| Michael Kaz | .... | assistant sound editor |
| Paul N.J. Ottosson | .... | re-recording mixer |
| Paul N.J. Ottosson | .... | sound designer |
| Paul N.J. Ottosson | .... | supervising sound editor |
| John Sanacore | .... | foley editor |
| John Sanacore | .... | foley mixer |
| Craig Stauffer | .... | sound mixer |
| Jussi Tegelman | .... | dialogue pre-dub |
| Robert Troy | .... | adr editor |
| Robert Troy | .... | dialogue editor |
| Alex Ullrich | .... | foley artist |
| Alex Ullrich | .... | foley editor |
| Bernard Weiser | .... | sound effects editor |
前些時候，我問了 Paul Ottoson 是否願意說說他在危機倒數裡面的聲音製作，不過自從奧斯卡之夜以後，他超忙的，不過還是很感謝他把答覆都打出來回給我。
主編： 請問你在這部電影參與的情形...
Paul Ottosson: 有一天接到這部電影的製作人以及後期總監的電話，他們說有一個超棒的劇本要我看看，如果我喜歡這個劇本，那導演很想跟我聊一下，結果我超愛這個劇本的，於是就去找凱薩琳導演和編劇Mark，相談甚歡，他們喜歡我有軍事背景，導演也希望音樂不要太搶，要我主導整個聲音，這樣雖然很好，但絕對不簡單。
Paul Ottosson: 我們討論了許多關於整體的感覺，覺得這部電影的聲音必須是有機的（猜：隨著影片起伏的 隨角色變化的），但還是要有點設計感（猜：刻意感），劇情當中的人物經常都必須去到拆炸彈的現場，現場大都充滿著大部分時間是看不見的危險，我們最後決定以全觀的方式去稍微調整每個角色。
主編： 請問你何時開始進入這個工作的，整個過程有多久？
Paul Ottosson：我是劇組中第一個被雇用的，距離真正開拍還蠻久的，大約四個月，所以我又重新讀過一次劇本（大家幫忙看一下文意）。PO: Well I think I was the first one that got hired, this is way before they shot a frame and you start thinking about it already then. I re-read the script take notes etc. I think all and all I was on the movie with a crew for perhaps 4 months.
主編： 你最喜歡本片的哪一段？
Paul Ottosson：本片的片形蠻少見的，整個電影我都蠻愛的，很驕傲能參與的這麼深，劇組超屌的，大場景都控制的很好，我無法說出哪一段是我個人最喜歡的，因為我認為聲音是電影整體的一部分，而不是一個分開的元素。
主編： 你的主要工具是什麼？可以透漏一些私房的絕技嗎？
Paul Ottosson：這個絕技就是必須保持有機，而不是搞一些酷酷的特效給觀眾，不管如何，聲音一定要以某種形式融入整個電影當中，我們的確也放入一些厲害的聲音，但不能太超過，我用很多分頻壓縮，我使用MacDSP外掛，他們的聲音我喜歡，讓我較能掌握聲音，而且容易使用。
主編： 你在後配Foley和現場收音用了什麼方法？
Paul Ottosson：所有的努力都是在讓它聽起來是真的，這個非常重要，每個分鏡都要按照角色感覺規劃來製作和混音（請幫忙看文意）。
PO: All we tried to do was to always get it to sound real. Get the perspective right was important. Every cut was played and mixed of the perspective of the person we were with.
主編： 混音呢？主要想達成什麼？
Paul Ottosson：我在本片的混音非常不同於傳統的思維，也許正因為我在混音的經驗不多，我們需要的是混音的新想法，一些觀眾想不到的，戲裡面沒什麼動作或發展時，聲音的角色就很吃重，在激烈的段落裡，我把對白放在偏位裡（Pan)，而不是中間，也許你知道，一般後配的音效和對白都是放在中置喇叭，當對白放到左邊時，中間的音場會凹進去，因此我必須偷偷地放點什麼聲音在中間，而背景音在所有喇叭當中整個也要增加音量，因為若不如此，右邊會聽起來空空的，後配的音效也要按照這個方式，我得多放一些，不然不管是否有其他演員入鏡，中置喇叭會很空，我也不讓任何聲音定著不動，也就是說即使是環境音它都可能在EQ或音量經常變動著，這樣才能達成更動態的混音。
例如有一場是他們遭遇埋伏，槍戰結束之後畫面埋什麼變化，但是混音卻有許多東西在裡面，每個角色都以各自不同的方式編輯與混音，就為了讓趴在地上等待的感覺更緊張，又例如在一支槍擊發之後，我會在尾音以不同的EQ和壓縮來處理，擊發的衝擊感要用能感到瞬間擊發的壓縮器，然後也許我會要壓縮並提高槍聲在山區迴響的聲音，那場的混音真不簡單，我想有成功幫助了劇情的敘述，並讓觀眾進入劇情，而不是只是個旁觀者。
主編：說說那第一場戲吧，雖然我很愛每一場拆炸彈的段落，但第一場真是了不起，當第一個炸彈爆發時，所有的事物都慢下來，觀眾可以清楚的看到那瞬間的細節，感受到地面的晃動，以及震波的擴散等等，是個發揮聲音的絕佳時機，你當時的決定是什麼？
Paul Ottosson：我借用了15歲時在路軍服志願役的經驗，到了19,20歲時，擔任隊長，還記得第一次引爆炸藥時，我們得猜想要使用多少塑膠炸藥才能把鐵軌弄斷，那時真的只是用猜想的抓一把炸藥埋好，然後就去到地底的一個掩體，接著引爆，真是瘋狂，壓力波讓空氣整個震動起來，我永遠也忘不了那種感覺，並不是因為音量大，而是整個身體被衝擊到，當你非常靠近一個爆炸的時候，你不是被彈片被傷到而死，而是比彈片抵達之前更早的，那個迅速像外擴張的震波，以每平方英吋100磅的壓力穿透你那原本只能承受每平方英吋7磅壓力的肺，你體內的每個空腔都會被衝破，以拆彈小組成員來說，他永遠也聽不到爆炸聲，他會先感受到震波，然後在聲音抵達之前就死了，在死後才出現爆炸聲，我就是這樣處理本片的爆炸戲的，炸完之後，我以旁觀者會聽到的角度來進行，我以驚人比例的超低頻來模擬25年前我引爆炸彈的感受。
主編：我蠻欣賞你對每個角色觀點所營造的聲音，尤其是穿上防爆衣之後，我可以感受穿上那衣服的人在裡面的感覺，呼吸阿聽覺阿，這種感覺主要的概念是什麼？編輯和混音時有特別之處嗎？
Paul Ottosson：導演喜歡這樣，像是太空人獨自漫步在太空一樣，我覺得聽到他的呼吸可以感受他在劇情當時的內在思考，他那麼專注使得我們都好像跟他同在那個空間裡，其實畫面上我們很靠近他而已，而我特別把聲音放一些在環場的各方向喇叭，就好像我們也在那防爆衣裡面一樣。
主編：對James來說，戰爭是他的癮，他看什麼都像在挑戰一樣，其他角色則不是這樣，例如Owens，他比較戲劇化，比較能感受痛苦並害怕死亡，聲音設計上(Sound Design)，如何去擴張電影中美個角色的個性呢？是不是每個角色都很特別呢？
Paul Ottosson：每個角色的作法都不太相同，James走起路來比較紮實，他的移動是比較深思熟慮的，Eldridge比較膽小，走起來比較沒自信，但他的裝備發出來的聲音比較多，我試著多用一些他在害怕時的呼吸聲。 Ray Beckett是現場收音的混音師，他從拍片像場收了很真實的聲音回來，他做的超好。
主編：還有個我喜歡的聲音是直升機，這個聲音在最好的時間點出現，提醒我這是真正的戰場，在緊張的戲裡有，在平靜的段落也有出現，James一開始在跟孩子說話時出現了直升機的聲音，這場的最後也以直升機聲結束，音效組是怎麼做到的？混音的搭配又是如何呢？
Paul Ottosson：戲裡面必須一直維持戰爭的氛圍，不能讓觀眾忘了戰爭在戲裡的存在，我用直升機和噴射機的聲音來連接分鏡，也用來構築緊張戲裡所需的張力，甚至用來升高張力，在其中一場戲裡還用來對話。例如戲裡面有個人跑來問Sanborn是不是加州來的，Sanborn開始生氣，然後不知道該不該就殺了那個人，所以就吼那個人並用槍戳他，我放了兩台噴射戰鬥機以超音速飛過的聲音搭配大量的超低頻，為的就是加強這段的劇情。
主編：我想張力是本片的重要關鍵，音效和配樂幫了很多，在超緊繃的段落你是用什麼方法來進行聲音的？
Paul Ottosson：有時要把後配的聲音弄的比一般電影大聲一點，有時我會先做完真實的聲音，然後融接到有點奇怪的感覺，聽起來有點怪怪的真實感，雖然觀眾聽不出融接的接點，但是會感覺到，這種怪異感有助於張力。
我很高興能在這麼出色的電影中工作，有罪出色的凱薩琳導演，讓劇本、演員、剪接、配樂、攝影、以及視覺特效，都是盡可能做到最好。
mix 雜誌專訪
Could The Hurt Locker Take Sound Oscars?
Mar 1, 2010 6:50 PM, By Blair Jackson
AN INTERVIEW WITH PAUL OTTOSSON
Six months ago, it looked as though The Hurt Locker, though critically acclaimed, would go down in history as yet another Iraq war film that didn’t perform at the box office and be forgotten. But then something extraordinary happened. Critic after critic put it on their year-end “Best of 2009” lists and the film started to gain new momentum. Everyone, it seemed, loved that film and it just wouldn’t go away. It was nominated for several Golden Globes and a number of other prestigious awards, and then when it was released on video (do we still call it that?), it got a whole new life: Everyone who had thought about seeing it but hadn’t suddenly leapt at the chance to finally screen it—myself included. (I’m usually very good about seeing films in theaters, but last summer and fall I was swamped with a few big projects and missed a bunch.)
Anyway, I saw the film in HD on the “big” screen in my living room, and was blown away by every aspect of it—the story was terrific, the script natural and compelling, superb acting. And I loved the sound design. Now, going into it, I had no idea who had done the sound, but while I was watching it, I was struck by the way the sound job combined a stark and gritty realism with scenes that showed tremendous imagination and creativity. I was particularly amazed by one scene toward the end of the film that had the same nearly hallucinatory feeling of parts of Apocalypse Now, and it was the sound design—specifically, things we heard but didn’t see—that really carried the emotion of the scene. At the end of the film, I watched through the credits (as I always do; I can’t count the number of times I’ve been the last guy to leave the theater at some multiplex) and was delighted to learn that the principal sound man on the film was Paul Ottosson, whom I interviewed a few years ago about his work on Spider-Man 2 (which earned him an Oscar nomination).
Ottoson's a good guy and great craftsman, so I contacted him literally a couple of hours after I’d seen The Hurt Locker to see if he was up for talking a bit about his work on the film. A few days later—coincidentally, on the eve of this year’s Academy Award nominations—I interviewed him over the phone. I learned he had already been nominated for a BAFTA (that’s the British film awards group), so I obviously wasn’t the first guy to figure out that the sound for The Hurt Locker was something special. Indeed, Ottosson—who was sound designer, supervising sound editor and the sole re-recording mixer on what was a fairly low-budget (by Hollywood standards) film—garnered two Oscar nominations—for Sound Editing and Sound Mixing (where his co-nominee is production mixer Ray Beckett). He’s up against some of the best in the business, too, all of them representing big-budget films: In Editing—Chris Boyes and Gwen Whittle for Avatar; Wylie Stateman for Inglourious Basterds; Mark Stoeckinger and Alan Rankin for Star Trek; and Michael Silvers and Tom Myers for Up. And in Mixing—Boyes, Gary Summers, Andy Nelson and Tony Johnson for Avatar; Mike Minkler, Tony Lamberti and Mark Ulano for Inglourious Basterds; Anna Behlmer, Andy Nelson and Peter Devlin for Star Trek; and Greg Russell, Gary Summers and Geoffrey Patterson for Transformers: Revenge of the Fallen.
I’m not copping out when I say, sincerely, that any of those films could win and you wouldn’t hear a complaint out of me. But there is something about Ottosson’s work on The Hurt Locker that really affected me deeply—it felt so intimate and real and it was such an important part of the fabric of that film. And, truth be told, there’s a part of me that always roots for the underdog; for the folks who didn’t have the luxury of endless resources, which was certainly the case with Ottosson and The Hurt Locker. Now, though, just days away from the Oscars, is Ottosson even the underdog? After all, he just won the sound award at the BAFTAs!
But let’s not get hung up on awards. It’s about “the work,” as everyone likes to say, so take a read through Ottosson's words about his work on The Hurt Locker.
On the morning we spoke he had just finished watching The Hurt Locker on his own TV for the first time.
So what did you think seeing it on your home system?
I liked it. I thought the mix held up pretty well on the TV, too.
I really love this movie. You know, usually when I’m done with a movie I’m really done with it. But with this one, I don’t know how many presentations and Q&As I’ve gone to, but I never get tired of it. I usually end up going two hours early and watching the movie again.
When the film came out, it got extremely good reviews, but like so many of the Iraq films, it didn’t really find an audience initially. I think what helped it, ultimately, is that it’s above all a really tense, well-told story—there are no politics in it; really no historical context. It’s a micro-view with just a couple of episodes, and I think its relative "objectivity" is appealing to people. It shows the horrors of war without pointing fingers.
That’s exactly right. This movie could have been a Western or about any other war—I think it’s broad in that way. It’s a picture of man in war and how it destroys them. Like [the lead character] James in the movie—he can evades the bombs, but inside he’s being completely destroyed. I think it’s a really strong movie without hammering you with it. It makes you think, and it stays with you.
Had you worked with [director] Katheryn Bigelow before? How did you get involved with it?
No, I hadn’t. I got a call from the post supervisor and the producer telling me that Kathryn would like to meet with me about this movie. It was still being written when I talked to them. They sent me the script and I was blown away—I said, “I’ve got to work on this—unless I don’t get along with them at all! [Laughs] So I drove up and met with her and the writer [Mark Boal, another Oscar nominee] and we talked about it, and she talked about how important sound was going to be because her original intention was to have no music at all in the movie. That was our first discussion.
Wow. Well, there are certainly long stretches where there isn’t any music, but the music that did end up in it is really cool.
The music [by Oscar nominees Marco Beltrami and Buck sanders] is simple, but it’s so strong, so powerful when it happens. I think she made really good choices by going this route. They also tried it with more music at an earlier point, but it felt like when you heard the music you were more aware that you were watching a movie. Reading the script it was so realistic—it read like you were part of the [bomb] crew, and that’s what she tried to put across. She wanted to draw you in and make you part of the movie instead of just watching—to let the experience be yours as well.
Where was it shot?
In Jordan mostly, close to the Iraqi border. Originally, Kathryn wanted to shoot in Baghdad and she wanted me to come along, and I said, “You know what, I don’t think that’s going to happen. I got married a little bit ago, I have a kid at home…I don’t think so.” [Laughs]
Anyway, we all got along really well and I ended up being the first person hired on the movie. We found a production mixer from England, Ray Beckett, that we both loved. Even though we’d never worked with him, the movies he’d worked on sounded really good and needed very little ADR in them. We had a long discussion before he went to Jordan, talking about miking and what we were going to do. And he did a fantastic job. I think we ended up with—tops—five onscreen ADR lines for the principal actor. That’s never happened for me before ever—even movies shot on sets.
We cued probably 300 to 400 lines just to have it, but we really liked the performances. Later, we went to the ADR stage—me and Kathryn with our ADR cue sheets—and the actors were rolling in with their lattes and donuts—it just didn’t work. [Laughs] The shoot was really hard on everybody, but that’s one reason I think it came out so well. The actors became, sort of, what they were in the movie. Because the situations they were in were really hard—it was like 120 degrees, you’re wearing a 100-pound suit and armor and they’re sleeping in tents—they were far away from hotels most of the time. So when we shot the ADR it was almost impossible to get the same performances out of them.
So we ended up working really hard on the dialog. Robert Troy [dialog editor] did a fantastic job on it. We had at least eight mics going in every single setup there, so there was lots to choose from.
Where did you post?
At Sony in Culver City [Calif.]. We shot most of the ADR there. Foley we shot outside, and then I ended up mixing it at Sony on the small stage over there on a DAW.
I suppose there were some budget constraints…
Oh, yes! [Laughs] Sometimes you take a movie because you have to pay the bills, and sometimes you take it because you feel you have to do it—this was one of those movies. When I hired the crew, I told them the same thing: “This one you’re not doing it for the money, you’re going to love this.” Once you know your limitations, though, you just work the way you have to work within that.
Did you do much original effects recording?
A fair amount. I also had a lot of my own library material that I’d recorded through the years. Ray Beckett also recorded a lot out in the Middle East from the set, and some of that was live things they were shooting. Then I also went out and did some [ordinance] recordings out in the desert here about half-way to Las Vegas.
But I’ve probably never recorded this much Foley on any other movie I’ve worked on.
That makes sense because so much of it is an intimate perspective, where you’re either hearing it from the main character’s POV or, at the very least, you’re right there on top of the action.
That’s right. It was important to be able differentiate the main character from the others. Even when the camera’s moving, I was doing things mixers usually would not do. I would pan dialog and Foley with him, so I needed a lot of coverage because often they stick Foley in the center and it lives there because that’s where the dialog is sitting and usually people don’t pan dialog because it becomes a nightmare. But I said we needed to do that because we’re playing it from the perspective of you being this person, so when the guy is talking from the left I want to hear it from the left, and then when the camera moves over we bring it into the center, and whatever Foley we had needed to follow that. But then we also needed Foley for the guy on the right side, so mixing it was not easy because you had to really differentiate what sounds came from where.
Foley was done independently by a couple of guys—Alex Ulrich [Foley artist] and John Sanacore [Foley mixer]. They rented a place and did great work.
Tell me about that scene at night after the suicide bombing, where you don’t see that much, but you can hear helicopters and screams in the distance. It’s very strange and trippy. Is that something you discussed in detail with Kathryn in advance?
We talked about everything, but mostly in broader strokes: How we needed it to sound real, but also every scene we needed to play it like there wasn’t music because we didn’t know which ones we were going to use music in and which we weren’t.
That part of the movie was basically like a depiction of hell. We have the Americans there and the Iraqi police and all these people who’ve been killed. Just a lot of havoc and chaos and not knowing what’s going on. So we talked about the importance of communicating that. It’s true what you said—there’s so much sound there that isn’t on the screen, and that was to sell what the scene was about. It’s the scene that shows how it affects so many people. They’re all walking around confused; it’s the biggest bomb they’ve seen.
Did you have effects stems of multiple helicopters that you could then pan, or screams, flames? There’s a lot there…
I started the sound design of it as we were cutting it and working on it, but I never mixed out of stems because there were so many things to do I couldn’t lock anything in too early. So I ended up predubbing it but keeping it live on individual channels. I had around 300 tracks running there on the FX and dialog side, and then we had about 60 on the music side—and I was the only guy mixing it.
It was a very emotional mix. I always tried to convey the feeling of the person we were with [in the film]. Technically, I think it is a very different mix from what most are used to.
Well, you’re going for gritty.
It had to be what the character was feeling or the sense of pressure, which is hard to communicate. I built the helicopters up for that scene, and there was also a lot of group [ADR] with kids, women, boys, men, screaming. We shot with real Iraqi refugees so we were very true to it. It was very intense for all of us. Even a lot of the Iraqis in the film are Iraqi refugees, as well. The guy who has the bomb strapped on him [in a key scene] was a big-time actor in Iraq before all hell broke loose.
I really like the “home” scenes in the film, too.
That’s where you get a sense of how destroyed he is. He gets into the supermarket and he is so uncomfortable and so far out of it, but then you see the confidence of when he walks up to a bomb that can kill him and everyone else around him. Kathryn did an amazing job of showing those sides of him.
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