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AskLucasfilm: Queen-teri says: You've said that when working with George, the music starts at the beginning of the movie and pretty much plays through to the end of the credits. How does that affect your working style? Is it easier to have music a constant in the movie?
Q:你提到过，和卢卡斯合作的时候，电影从开始到演职员表结束都以音乐贯穿始终。这对你的创作方式有什么影响吗？音乐的贯穿存在是否让为电影作曲更容易？
JohnWilliams: I think I would have to say that from a logistical point of view, it's more difficult to score a movie that has that volume of music. The fact that the music is playing almost all of the time requires some thought about changes in tempo or texture, or even in the keys of the music. So it flows along in a way that is not repetitive. So when we score this way with George Lucas, these are the considerations we take into account versus a normal motion picture.
JohnWilliams: 我得说，逻辑上来说，要为音乐量那么大的电影配乐更难。由于音乐始终存在着，因此不得不对节奏，质感，甚至是音调反复斟酌。让音乐源源不断而且不加重复。所以为卢卡斯的电影配乐时，这些是与为其他电影创作时不一样的地方。
AskLucasfilm: Darth-womprat says: What was the decision behind the abundance of chorus used in the Episode I score?
Q：EP1中出现了很多合唱，这是出于什么考虑？
JohnWilliams: We didn't use that much chorus in the first three films, what we did use isn't very prominent. But I felt in this one, especially with the great sword fight at the end, the presence of a chorus might lend a ritualistic, quasi-religious quality to the scene so it wasn't just a swashbuckling accompaniment for the orchestra. To capture the magical, mystical force that a regular orchestra might not have been able to provide.
JohnWilliams: 正传三部曲的音乐中没有什么副歌（chorus），有也不是非常显眼。但我觉得在这部电影里，尤其是在最后那一场激烈的战斗中，合唱（chorus）可以为这一幕带来一种仪式般的，几近宗教感的特质，所以那一段乐曲就不只有管弦乐宏伟壮大的伴奏，这都是为了体现出那种一般管弦乐曲没法表现的离奇神秘的力量。
AskLucasfilm: Jedi-Saxman717 says: Mr. Williams, how did you go about creating Anakin's theme? What did you have in mind when you went about composing it?
Q：你是怎么创作Anakin's theme的？当你创作这段配乐的时候，背后的思路是什么？
JohnWilliams: Anakin, as we now know, will metamorphoses into Darth Vader. And I wanted some of the innocence of childhood, untarnished by life's experiences a simple tuneful, lyrically scene for a young boy who displayed noble characteristics. I also wanted to give a hint of what was to come, by threading slight suggestions of the Darth Vader Imperial March into the innocence of the theme, so a listener who listens carefully would get the subtle hint that some of the melody is made from the Imperial March. The notes were changed rhythmically, so they didn't sound exactly like the original. But it still reflects, and hints, at what this boy will face later on in life. It was something I thought of working over the melody, and it was the first time I ever got a chance to intertwine two themes like that. Now, going backwards into the past with Episode I, I had that opportunity to thread them together. And to give a hint of a reality that we are already familiar with.
JohnWilliams: 我们都知道，安纳金将会成为达斯·维达。我想要表现出一种童年的纯真，一个拥有高贵品质的男孩，尚未经历生活磨砺的那种单纯，优美，热切的旋律。我也想要暗示接下来的剧情，将达斯·维达的帝国进行曲加入到天真的主题旋律中，细心的听众就能注意到这种微妙暗示，听出其中有一些帝国进行曲的旋律。这些音符做了一些调整，听起来不至于和原曲一模一样，但依然反映和暗示了这个男孩接下来将面对的生活。这些是我在旋律上的思路，这也是我第一次能够这样把两个主题交织在一起。在讲述过去的EP1里，我有机会能够把他们串联在一起，融入我们已经知道的剧情。
AskLucasfilm: Jedi-Java says: There seems to be a different 'feel' to Episode 1 than in the trilogy. When you were composing the music for the movie, what kind of emotions did you want to produce different than in Empire or New Hope?
Q：EP1和正传三部曲在感觉上似乎非常不同。你在为电影配乐的时候，和创作EP4，EP5的心情有什么不同？
JohnWilliams: I think, for me, Episode I is even more mystical than the first three. Audiences should find the increased complexity in the mythological aspects of the story as we go deeper into the past, back to the antecedents of characters we know so well in the first three films. The atmosphere becomes more mysterious and mystical, and less military in character. The chorus use again lends to this. The quasi-religious feeling is more appropriate to the music, to the more serious aspects of the film Yet, the movie is quite humorous in places, it's fun, fast-moving, a spring in its step, it's youthful. The polarity of good and evil still remains, with the resonance of myth . Myth is what happens before history, or is the author of history, and it teaches us how to think and we all respond to a common mythology, to find similar stories in Chinese mythology, for example, and African mythology. And this common thread permeates the films, and creates a great resonance sub-consciously, and this one probes farther into this than the earlier three films.
JohnWilliams: 我想，对我来说，EP1比三部曲更加富有神秘气息。随着我们更加深入过去的故事，追溯正传中的角色，观众意识到故事中的神话层面变得越来越错综复杂。氛围变得更加倾向神话气息和神秘感，少了许多军事气息。副歌和声也体现了这点。类宗教的感受在音乐中加强了，让电影变得更严肃，但这部电影也有很多幽默的段落，有非常有趣、快节奏、轻快，充满活力。善与恶的对立在这个神话背景中依然存在。神话是发生在历史之前的，或者是那是历史的来源，教会我们如何思考，我们对共同的神话有所反应，得以在中国神话和非洲神话中找到普遍性。这种普遍性也贯穿于电影之中，在潜意识里产生了巨大共鸣，在这部电影比正传更加深入地探讨了这一点。
AskLucasfilm: Jedi-Andy says: In duel of the fates, what language is that?
Q：duel of the fates中歌唱的是什么语言？
JohnWilliams: That is Sanskrit. Simply, because I liked the way it sounded, in part, and in part, because it's an ancient language less well-known than Latin or Greek. It also has good vowel sounds, which produce good tone and timbre from the chorus, similar to modern Italian. Sanskrit, by the way, is the root language of India.
JohnWilliams: 是梵语。原因很简单，因为我喜欢梵文的发音，另外也是因为这是一种古老的语言，但不像拉丁语或者希腊语那样出名。它的元音发音很好，在合唱中有很好的音调和音色，就像现代的意大利语一样。梵语也是现代印度语的源语言。
AskLucasfilm: Jedi-Jorus says: How many times do you feel it is necessary to view the film (or any film) before you can score it?
Q：为电影配乐之前，你觉得看多少遍电影是有必要的？
JohnWilliams: I should see it as many times as I can, I think. What usually happens in the post-production process of a film like "Phantom Menace" the producer gives me a rough duplicate copy of the film and I can view it every day, the scenes I am working on, watching them dozens of times. I have seen "Phantom Menace" maybe 50 times then, and know it extremely well, and in this way, can feel I have got it reasonably right.
JohnWilliams: 我尽可能地多看。EP1后期制作的时候制片人给了我一份电影粗剪拷贝，这样我可以每天都看，播放我正在创作的场景，看上几十遍。我可能看了EP1五十次，极其深入这部电影，这样才能确保我理解正确。
