纪录片自媒体解说素材-新闻动态参考-雷切尔·波特曼（Rachel Portman/Rachel Portman on Cooking Up a Souffle of a Score for Julia Child Documentary
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0503/022723rkoyikkgv.jpg雷切尔·波特曼（Rachel Portman
Rachel Portman on Cooking Up a Souffle of a Score for Julia Child Documentary
奥斯卡奖得主雷切尔·波特曼（Rachel Portman）（“艾玛”）为“朱莉娅”（Julia）提出了令人愉快的得分，这部纪录片《关于烹饪个性的朱莉娅·克里亚（Julia Child）来自“ RBG”电影制片人贝蒂·韦斯特（Betsy West）和朱莉·科恩（Julie Cohen）。法国厨师”，尽管她喜欢做饭，但不拥有孩子的经典著作《掌握法国烹饪艺术》。 “朱莉娅”来了吗？这对我为“巧克力”（Lasse Hallstrom的2000年关于法国的巧克力剧院的电影）写了音乐，这帮助了我的整个关于食物，音乐和法国的事情。这部电影给了我一个机会，可以传达给他人做饭的想法，以表现出爱的方式。这部电影在音乐上需要什么？朱莉娅的性格和个性，主要主题，是有趣而乐观的。但是她长大的一面也更渴望离开。对她和她的丈夫保罗来说，有一个爱情主题，这非常重要。然后她决心要完成自己的食谱，持久，推动和尝试。然后是法国。需要有法国风味，这里和那里的手风琴。向我们讲述您的乐团。我认为我们有大约16名演奏者。双弦四重奏，竖琴，手风琴，长笛，低音单簧管和氛围。这是一群折衷的小玩家，可以在需要时具有真正的精力和咬人，我真的可以玩得开心 - 指出主题中的所有这些不同样式。它需要像郁郁葱葱的弦乐和情感一样，在其他时候也需要咬人。在华尔兹时代，几个段落。为什么？有一个制作蛋yfl的场景，而且这一切都很令人愉悦和美妙，以至于不想写法国华尔兹的感觉太诱人了。但是朱莉娅的主要主题也在华尔兹时代 - 既怀旧又快乐。它的触感轻巧。的确，您在几个时刻唱着那些肮脏的人声？这个主意散发出来。我想：“我想我想为此唱歌。”所以我很少嗓音。我不知道为什么。似乎它适合电影中的那个空间。
Oscar winner Rachel Portman ("Emma") served up a delightful score for "Julia," the documentary about cooking personality Julia Child from "RBG" filmmakers Betsy West and Julie Cohen.
Curiously, the English composer had never seen Child's public TV series "The French Chef" and, although she loves to cook, does not own Child's classic book "Mastering the Art of French Cooking."
Portman, who recently received a lifetime achievement award from Germany's SoundTrack Cologne, spoke with Variety about "Julia."
How did "Julia" come to you?
It helped that I had written the music for "Chocolat" – the whole thing about food, and music, and France. This film gave me an opportunity to convey the idea of cooking for others as a way of showing love.
What did the film need, musically?
Julia's character and personality, the main theme, is fun and upbeat. But there's also a more wistful side to her growing up, wanting to leave. There's a love theme, which was incredibly important, for her and her husband Paul. Then there was her determination to get her cookbook done, her edginess, pushing and trying. And then there's France. There needed to be French flavors, an accordion here and there.
Tell us about your orchestra.
I think we had about 16 players. Double string quartet, harp, accordion, flute, bass clarinet and vibes. It's an eclectic little group of players that could have real energy and bite when it needed to, and I could really have fun with — to point up all those different styles in the themes. It needed to be lush and string-like and emotional, and it also needed to have bite at other times.
Several passages are in waltz time. Why?
There's a scene of making a souffle, and it's all so delightful and wonderful that it feels just too tempting not to write a French waltz. But Julia's main theme is also in waltz time – it's both nostalgic and happy-sad. There is a lightness of touch to it.
Is it true that you are singing those scat-style vocals at a couple of moments?
That idea just spilled out. I thought, "I think I want to sing on this." So I did little vocals. I don't know why. It just seemed like it fit into that space in the film.
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