Jerome Leroy

多想和你再見一面 電影原聲帶

穿過月亮的旅行 電影原聲帶

劉韜

電視劇《理想之城》原聲大碟

Chi Chi Em Em (Original Motion Picture Soundtrack)

The Housemaid

The Housemaid (Original Motion Picture Soundtrack)

In the Deathroom (Original Remastered Soundtrack)

The Mistover Tale (Original Motion Picture Soundtrack)

無盡思念，透過略帶模糊與失真的聽筒傳遞；
綿綿愛意，跨越時間與距離，從未停止期盼相見。

《多想和你再見一面》是由吳兵、林琴琴編劇，徐欣羨、唐家輝執導，此沙、何超蓮領銜主演、曾志偉、劉亦淳主演，黃宗澤特別出演的電影。該片於2024年12月14日上映。影片講述了1998年澳門女孩姍蒂與大陸男孩喬明莊在短暫邂逅後各奔東西，直到二十年後，隨着港珠澳大橋的通車再次重逢、心意相知的動人故事。本片改編自第十八屆“夏衍杯”優秀獲獎劇本。

電影配樂由Dream Studio工作室出品，著名音樂製作人于飛(代表作品:《解密》、《八佰》、《金剛川》等)攜手作曲Jerome Leroy(代表作品:《飢餓遊戲》、《穿過月亮的旅行》、《理想之城》等)共同打造。共收錄22首原聲配樂，以其細膩婉轉的音樂編排與電影的節奏相得益彰，在聲色中領悟到人生的無常和愛的珍貴，精準地反映出影片中角色之間錯綜複雜的感情糾葛，帶領觀眾穿梭於不同的場景與心境，將平凡人物的愛情、親情故事以及為理想奮鬥的歷程融入澳門發展浪潮之中。

由愛奇藝奇愛工作室、傳遞娛樂、厚海文化、華夏兄弟、橙子映像、新力量、曲江風投聯合出品，著名導演劉進（代表作：《白鹿原》、《精英律師》、《懸崖》、《一僕二主》等）執導，孫儷、趙又廷領銜主演，於和偉、陳明昊、高葉、楊超越等主演的都市職場劇《理想之城》原聲配樂正式上線!配樂由著名製作人于飛(曾擔任《八佰》、《金剛川》、《刺殺小説家》等大熱影片音樂總監)，攜手知名作曲Jérôme Leroy/劉韜按照電影製作級別傾力打造。該劇根據若花燃燃的小説《蘇筱的戰爭》改編，講述了造價師蘇筱的成長之路，展現出一個新時代女性的堅韌，中國建築行業現狀盡收眼底。


Jerome Leroy專輯介紹：The journey of making The Mistover Tale is a tale unto itself, spanning almost a decade from conception to release—and switching genres along the way. The film was scored by composer Jerome Leroy, who took the assignment in 2006 shortly after moving to Hollywood from Boston. Director Harry Tappan Heher based his indie film, shot on the island of Martha’s Vineyard, on the Thomas Hardy novel The Return of the Native. “Hardy lived in England,” says Leroy, “and the movie was very European in its sensibility, so I think [Heher] was interested in having a European composer write the music for it. We met to discuss the film and we hit it off.” \rIt was four years before the film was ready for a score, and when Leroy saw it again in 2010 the cut had changed dramatically. “It was less of a straight-up drama,” says Leroy. “It had more fantasy elements and ended up being more of a ghost story. So that obviously brought a different kind of perspective, musically.” Leroy was inspired by the stunning seascapes and vistas of the island. “We wanted the score to feel both airy and earthy, in a way,” he says. “We talked about what you would hear on the island, and how to balance the sound of nature and silence with an actual underscore.” \rThe thematic focus of the film is the island itself. “We eventually realized,” explains Leroy, “that the only thing that is a constant is the island. People will die, people will be born, but the island itself doesn’t change. It’s always there, like an immutable presence. This is one of the main themes of Hardy’s novel, that (Heher) wanted to capture in the film.” \rThe score’s aesthetic identity is in the single, magical tones of the Celtic harp, which, along with the other featured instruments—wooden flutes, fiddle, guitar—was performed at Leroy’s studio. The main character, Cliona, has Irish roots, but Leroy didn’t want to make the Irishness too on-the-nose. “I thought about the Celtic harp to build the harmonic language as dramatic support,” he says. “I would use it as a motor, on top of which I would then layer various melodic or rhythmic elements. The added benefit is that it has a very different sound than the regular harp, yet people wouldn’t necessarily say, ‘Oh, this is Celtic’ when they hear it. It is lighter and more brittle. It does sound a little more magical, more otherworldly.” \rFrom the opening low drones and harp strains in the score’s “Overture,” Leroy weaves a delicate tapestry on aptly isolated instruments that resonate with the story’s isolated characters and their island home. “It’s a confined score on purpose,” he says. “It was all about trying to create something driven by emotions in a carefully balanced way. That’s what was interesting about it to me.” Leroy concludes, “I do feel lucky that we had a lot of time to conceive the score, and most of all I feel lucky that it was such an original story, in such an original setting.” \r——Tim Greiving


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