谈到吕克•贝松的电影，不能不提他的御用配乐人艾瑞克•塞拉Eric Serra。配乐作曲家们各有其擅长的乐风，有的偏好史诗浩瀚的管 弦乐风格，有的习于借用传统居尔特的音乐精髓，有的却是以电子合成音乐的华丽神采来震撼乐迷。不过在相貌上，他们可不是人人都具有亮丽的明星脸：如 Jerry Goldsmith满头白发像是退休的老教授，James Horner温文儒雅像是个敦厚的上班族，John Williams顶着光头像你我身边的普通凡人。这些名家当中，最具有形象的，要算是艾瑞克•塞拉（Eric Serra）了。 艾瑞克•塞拉是个不折不扣的帅哥。大抵上来说，艾瑞克•塞拉身材修长、体型比例完美，脸上总是一副似笑非笑的神气模样，但真的笑起来时又酷似汤姆•克鲁斯 的天真无邪；他的气质优雅，举手投足之间充满着艺术的渲染力；当他蹙眉沉思之时，指尖香烟冒起的白茫茫烟雾环绕着他整个人，营造出神秘孤离、虚无飘渺的氛 围，叫人感到捉摸不定。从1983年以来，吕克•贝松每一部作品的配乐都由艾瑞克•塞拉担纲，两人携手创作了多部脍炙人口的佳片，也缔造了影坛佳话：包括1985年的《地下 铁》，1988年的《碧海情天》，1990年的《尼基塔》，1994年的《这个杀手不太冷》，直到1997年的《第五元素》，随后而来的《圣女贞德》。当 贝松跻身为影坛大师级的名导时，塞拉也成为重量级的作曲家。其中的《碧海情天》可称之为顶级经典之作，该片原声带不但卖出两百七十万张，更让塞拉一口气勇 夺该年法国恺撒影展的最佳作曲和最佳录音两项大奖。塞拉名利双收，可谓实至名归。Eric Serra’s father, Claude, was a famous French song writer in the ’50s and ’60s, and, as such, Eric was exposed to music and its production at a young age. His mother died when he was just seven years of age. In the early 80s, Serra met director Luc Besson and was asked to score his first movie ‘L’Avant dernier combat’ (1981). Serra has scored every single one of Bessons directed movies to date, including “The Fifth Element” and several that Besson has written, such as Wasabi. In 1995, Eric Serra was chosen to compose the score to Martin Campbell’s James Bond film “GoldenEye”. Contrary to previous soundtracks for the Bond films, Serra’s score featured a very avant-garde sound. As such, critics met the soundtrack with mixed reviews, some praising the unique sound as an extension of the setting (fall of the Soviet Union, etc), while others panned the soundtrack, citing a distinct lack of the Bond theme, as well as the general nature of the entire score, which some critics deemed to be ‘elevator music’. Element.observe("wikiReadMore", "click", function (event) { if (Element.hasClassName("wikiSecondPart", "wiki_continued")) { Event.stop(event); Element.removeClassName("wikiSecondPart", "wiki_continued"); Element.remove("wikiReadMore"); } });