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Maybe in the future, we will not have regular beats.
也许在未来，我们不会有规定的节拍。
Maybe we will have actually progressed as human beings that we don't need disco beats to enjoy ourselves.
也许我们人类会有实质性的进步，那样我们不需要迪斯科节拍就能自己玩得很开心。
It could be something much more advanced.
可能是某种先进得多的东西。
And why are they electronic?
至于为什么是电子乐呢？
Because I like making drum sounds.
因为我喜欢鼓声。
I'm Hans Zimmer, and this is how we created "The Score For Dune."
我是汉斯·季默，我们是这样创作《沙丘》配乐的。
I read the book as a teenager when I was 14 years old and I loved it.
我在14岁还是个少年的时候读过原著，非常喜欢。
I never saw the David Lynch version, I never saw the television version, nor did I hear the music, because I had a sort of a vision and a sound in my head.
我没看过大卫·林奇的版本，也没看过电视版本，更没有听过什么配乐，因为我脑海里有我自己的一种想象和一种声音。
My challenge was not being a grownup, not trying to be the man who's done a lot of movies, but to regress in a way and become the reckless 13-year-old teenager and write as a 13-year-old teenager.
我的挑战是不要当一个成年人，不要努力成为那个为很多电影做过配乐的人，而是在某种程度上往后退，成为那个无畏的13岁少年，像一个13岁少年那样创作。
I think it was more challenge to everybody else, my behavior, but I loved it.
我觉得我这种做法这对其它任何人来说都更具挑战，但我喜欢这么做。
I remember as a 13-year-old going and seeing science fiction movies and going: "Why do all these science fiction movies have European orchestra?".
我记得我13岁的时候去看科幻电影，我就想：“为什么这些科幻电影都要用欧洲管弦乐？”
Orchestral sounds, romantic period, tonalities about them.
管弦乐，浪漫时期的音乐，都是这个调性。
We're supposed to be on a different planet, different culture.
我们应该要处于不同的星球上、不同的文化中。
We're supposed to be in the future.
我们应该身处未来。
All of this was done in the time of COVID, which was oddly liberating to a certain degree, because we could all work in our own environments and we could communicate constantly.
所有的配乐工作都是在疫情期间完成的，疫情在某种程度上带来了一种奇妙的解脱，因为我们都可以在自己熟悉的环境中工作，我们可以随时沟通。
Part of the band was in London and part of the band was in Vienna.
乐队的一部分人在伦敦，一部分在维也纳。
So it was truly an international way of working.
所以这是一种真正的国际化的工作方式。
In Inception, you know, people talking about the "Braam" sound, the low brass.
在《盗梦空间》里，大家总是说起那个Braam声，也就是低音铜管乐。
I made the sound, but that means nothing.
那个声音是我做的，但一点意义也没有。
Chris wrote the sound in his screenplay to Inception.
是克里斯把那个声音写进了《盗梦空间》的剧本。
It was his way of showing time slowing down.
这是他表现时间变慢的方式。
We booked a studio for the next day with 10 brass players, and we had a piano in the middle of the room with a brick on the sustained panel.
我们订好了第二天的录音室，找了10个铜管乐手，然后我们在房间中央摆了一架钢琴，在延音踏板上放了块砖头。
So the brass would play into this piano and all the strings would be vibrating -- and that's the sound of Inception.
所以铜管乐的声波会穿过钢琴，所有的琴弦齐振——这就是《盗梦空间》里的音效。
Something I wanted to always do -- to invent instruments that don't exist, invent sounds that don't exist.
有件我一直想做的事，就是创造出之前不存在的乐器，创造出从不曾有过的声音。
