情上很是好style本，很，然而全片最精彩的 "主角"，就是那些多性旋律曲(jazz piano, Broadway , swing , pop)

每世代，民族都藉由音描述他下的生活，Jazz音也是一，早期美黑人其非洲音展出，底人物的故事情感，期相融J/ 5合、合其它音元素後慢慢演至今大家所到的音形式。我得就像早期的日本演歌，或是台歌，拆歌看的，人文文化、音性及器的不同，但很多情感的表其是一的。人得黑人文化音中，即便在悲也是有一莫名的。比起演歌或台歌，jazz起有那悲戚...(呵)。

「老是念去，如何新，音是要放眼未」(意:台)

我想句是演想送所以想事作的朋友。作很「中生有」，需有被的，被除了自生活周遭事物、富想像力外，不就是前人走的? 典很被超越，但是能受其。

例如，本片中的TAKE ON ME (1985)一曲，到，真的有到，哈 ~  「a-Ha」是1982年於挪威的，中短解散，但祝30年，二三年他三位又重新聚集始一串活。後的很多都受其影，包括coldplay在。典的TAKE ON ME，放置今也任何和感，如果不，很少人知道首的年、也不知道期也被多人翻唱。

★影中的大部份的音都是自Pasek and Paul。
人於2010年成，跟演DamienChazelle及其御用作曲者Justin Hurwitz一年，平均才30出。光是的合，再看到本片及2014年 "Whiplash"  的本都是出自Damien Chazelle，就可以看出Damien 想烈表的是，逐踏的不易，不是、、更重是自身有的才能力是否足吸引人，是否可以掌握。天才有限，才能力是需要靠努力累。只要好，一，都可以出，不因「年」或「需富成熟」而被排拒在外。

★才能要如何具? 要具才能足以等待到? 答案有，但角上，我得演很 “心安排”，形中出要激烈的好出，非得有好把刷子。

看Ryan Gosling演的影，根不想到他器，呵，私下，他不也在2007年出了一曲。

Whiplash中鼓手的Miles Teller也是私下玩多器。

  **美影集House生的知名演Hugh Laurie，更是小音，除了多
器之外，也在2011及2013分出了爵士。

★演Damien Chazelle本身也是多才多，除了能出出色的本，音也有一定的涵。2013的「Grand Piano」，描述音家受到不知名人士威的悚片，本跟奏上的安排很，可也我出一身汗。

法用想的，也不能遇到挫折，就跟自己 "" 一番，光是追逐有用的 ! 有可以有所(竟一始不心害怕呢 ?!) 、但更的是百倍的勇、百倍的行力及百倍的持!!

影片中，Sebastian後接受Keith(JohnLegend )建加入他的手，走比POP型。然一始Sebastian不太接受，但用都不出的情下、如何寐以求的Jazz音餐呢?  然而跟著巡年後，他於可以一家於他自己的音餐，可以好好地玩他要玩的音了........因他未放他的初衷，他只是另一角度去思考、去，不再陷入一莫名的固漩。

Keith Sebastia:  " 要音餐，也要有 "  (意:台) ，一段短是一血阿!   

Jazz就是雅、POP就是俗 ?  ..... NO !
古典就是王道、音就是俗.?...NO!  

想是需要持、但不是故步自封；想的旅程中，需要多的包容力、不是孤芳自 !  

跟大家分享最近看到的一段  >>>>

「生命中一定有些事，值得你 :
 你成熟，知道那是傻事
但你年，是撂落去了」

 「的路不是直的，天使不自停在家口。不起的候，我就用走的的。不管走不走得到目的地，旅程本身，就是天堂。」

BY(王文)

DJ我一直在撂落去了的 ~~且走得很勤 ~~哈哈 ~
我的朋友，一起向前走ㄅㄟ ^0^

有爵士就少不了Swing，
喜中的Herman’s HabitEpilogu  ^0^

( Pasek and Paul的容)

♦LA TIMES-Daryl H.Miller 20161201

……On Friday, they hit the big screen with their savvy, swooning lyrics to Justin Hurwitz’s songs for “La La Land,” writer-director Chazelle’s newfangled yet delightfully old-fashioned musical about romance and ambition in glittering, heartbreaking Los Angeles.

Pasek and Paul were eager to work with Chazelle and Hurwitz, another pair of 31-year-olds, who had teamed for the hard-charging musician’s tale “Whiplash” and the music-driven romance “Guy and Madeline on a Park Bench.” 

Pursuing the job played out like something that the showbiz dreamers of “La La Land” themselves might experience: After a phone-conversation audition, Pasek and Paul heard seven of the most dreaded words in Hollywood: “They liked you, they didn’t love you.”

“Then,” Paul recalls, “we got some crazy advice: Go to L.A.; just show up and say, ‘Hey, we happen to be in L.A.; let’s meet.’

“So we took them out for pizza and we all just sat and talked about musicals that had inspired us and some of those shared loves and passions. Then the next day we presented them with a version of a song that we might write lyrics for, which became ‘City of Stars’ ” — now one of the movie’s principal songs.

“We want to continue to challenge ourselves to write different kinds of shows, about different subjects and in different styles,” Paul says. Pasek adds: “We really are living our dream right now.”

♦For the La La Land Lyricists, Getting Hired Was Like Looking in the Mirror- Kevin Lincoln

One day back in July of 2014, Benj Pasek and Justin Paul’s managers alled them with a strange message: They had just met them.

“They were basically like, 'We met your match in L.A. We met these two guys, they’re both 29' — I think we were 29 at the time — 'best friends from college, they love musicals, and you guys have to work with them,'” Paul said, recalling their introduction to future collaborators Damien Chazelle and Justin Hurwitz. “And we’re like, Okay, that sounds great!”

The quote above is attributed to Paul, but it could just as easily have gone to Pasek. The two men, who are both 31 now and have the natural, easy charm of born entertainers, tell stories in a sort of collaborative unfurling, starting and finishing each other’s sentences. Their friendship goes back a decade, to their college years at the University of Michigan; they have the almost genetic rapport of two people who have spent years working together.

At the time the duo met their doppelgängers, Chazelle and Hurwitz were relative unknowns: Whiplash's five Oscar nominations were still half a year away, and all Chazelle had to his name was a feature he’d made in college — the improvisational not-quite-a-musical Guy and Madeline on a Park Bench — and a few screenplays. Pasek and Paul, meanwhile, had already been nominated for a Tony for their work on A Christmas Story, The Musical and had had songs featured in the second season of Smash, though they’d yet to make their entry into film. By their own recollection, they “had no money.”

Chazelle and Hurwitz were looking for lyric writers for a project they had in the works, and even though Pasek and Paul wrote both music and lyrics, their management was so enthusiastic about the pairing that they figured they’d pursue it. Initially, the four men connected over the phone, discussing their love of emotionally honest, sincere musical theater rather than the kind of productions that made fun of the fact that characters were breaking into song.

Pasek: “I remember, we ended that phone conversation, and we talked to our agent—”

Paul: “—and the feedback that came in, or at least their interpretation of it, was, ‘Okay, so we talked to them, and you know what, I think they like you, but they don’t love you—’”

Pasek: “—and we’ve since said this to Damien, and he’s like, ‘You’re crazy,’ but like, it could be true?”

To turn that like into love, their manager had an idea: They should go out to L.A. — on their own dime, of course — and tell Chazelle and Hurwitz that they were going to be in town — for other reasons, of course. There, they could have dinner and seal the deal. It worked. Before the meeting, Chazelle and Hurwitz gave them a piece of music to work with. It was called “Ballad,” and it was the tune that would eventually become “City of Stars.” They wrote some tentative lyrics on the flight out. Pasek described their dinner at L.A. mainstay Pizzeria Mozza as a “nerd fest,” with the group realizing a shared adoration for the same strain of musical theater — “MGM classic musicals and the Alan Menken–Howard Ashman Disney musicals, and Sondheim and all that stuff.” They even happened, purely by coincidence, to be staying in the same apartment complex that Hurwitz lived in.

“I guarantee you that, had we pulled in behind them, they would’ve thought we literally were stalking them,” Pasek said. “Thank God our car got there first.” 

From there, it was a match, and their partnership would eventually result in La La Land, the current front-runner for Best Picture and a surefire contender in a host of other categories — including and especially Best Score and Best Original Song, where the film has earned two Golden Globe nominations. In fact, the real question regarding Best Original Song isn’t whether Pasek and Paul will be nominated, but which piece from the movie will get the nod, the favorites being “City of Stars,” the Ryan Gosling–Emma Stone duet that anchors the film’s emotional narrative, and “Audition,” Stone’s show-stopping finale.

As Pasek and Paul dug into writing the movie’s lyrics, they tried to combine that touchstone they shared with Chazelle and Hurwitz — the romanticism and idealism of those old musicals, with a modern sensibility that would fit the characters of Sebastian (Gosling) and Mia (Stone). Pasek described Chazelle's vision of the film as “Los Angeles being this mecca for dreamers where these people come to pursue seemingly impossible pursuits, and how it’s heartbreaking and exhilarating simultaneously,” and they sought to balance those two concepts in their lyrics.

“We knew from Justin’s music that it was bittersweet, that there was aching and longing and optimism and acknowledgement of failure,” Paul said, and that concept ended up making its way into the final version of “City of Stars.” “Ballad” had originally been written just for Mia, but as the duality of La La Land became clear, the song transformed into a duet; in the film, it soundtracks a montage that follows the arc of Sebastian and Mia’s relationship from wide-eyed lovers to a couple who have to reconcile their personal ambitions with their mutual involvement.

Pasek describes “City of Stars” as having a “fierce irony” in the hands of Chazelle, and their lyrics play no small role in establishing that. Few songs of new love feature lines so foreboding as, “Is this the start of something wonderful and new? / Or one more dream that I cannot make true?” The sentiment works referring both to the relationship between the two characters, and the promise they see in Los Angeles. “It was always Damien’s intent that the first time you view it, it should be a song where you’re like, Oh God, it’s a love song,” Pasek said, “and the second time you’re like, It’s heartbreaking.”

Meanwhile, all of this was still happening pre-Whiplash. At the beginning of their collaboration, Chazelle had quizzed Pasek and Paul about what it was like to get their Tony nominations. But when he invited Pasek and Paul to the premiere of his new film, the dynamic shifted just a bit.

“For us, we were onboard because he was smart, passionate, and you could tell he loved musicals and movie musicals,” Pasek said. “So we were convinced because, meet the dude. But then, after we began this collaboration, I guess four months later Whiplash premiered at the New York Film Festival and then we sat and we watched the movie and we were like, Oh. My. God.”

During the Oscar run of Whiplash, Pasek and Paul got to watch the director they’d thrown their lot in with become a top-tier filmmaker, and the expectations for La La Land rise accordingly. But they still had to make the movie. Pasek and Paul were in New York while Chazelle and Hurwitz were in L.A., and they’d trade work back and forth over email and phone until that wasn’t an option anymore, at which point they’d meet in person and hammer out final versions.

Final, at least, until Chazelle and Hurwitz were on set, when Chazelle would occasionally decide to go in a different direction. “There were definitely moments where he would choose lyrics that were our second choice, but we trusted him,” Paul said. Film is a director’s medium, and as Paul puts it, “the smartest thing we ever did was trust him.”

Now that trust could prove Oscar-worthy — but even if it doesn't, Pasek and Paul should be fine. Their new 
show, Dear Evan Hansen, which they were developing in Washington, D.C., during the shooting of La La Land, just opened on Broadway to rave reviews after a successful Off Broadway run.

Loosely inspired by a story from Pasek's youth about a socially anxious high-school senior who becomes involved in a family's grieving over the death of their son — and featuring heavy doses of social media — Dear Evan  Hansen covers significantly different ground than La La Land, making the concurrent musicals a testament not only to the talents of their songwriters,but to the sincerity with which Pasek and Paul are pursuing musical  theater. Pretty soon, some manager might be telling his young clients to go book a flight to try and impress them.


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