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(1). 1:The first big project he dreamed up, aged 24, was to reimagine the music Nino Rota had composed for the films of Federico Fellini.
2:He signed up Blondie’s Debbie Harry and Wynton Marsalis, then a promising young trumpeter who was not even 20, and flew to Rome to ask Fellini for the rights.
3:It was like meeting Dickens, he later recalled.
4:The two discovered they shared a passion for Laurel and Hardy.
2:He signed up Blondie’s Debbie Harry and Wynton Marsalis, then a promising young trumpeter who was not even 20, and flew to Rome to ask Fellini for the rights.
3:It was like meeting Dickens, he later recalled.
4:The two discovered they shared a passion for Laurel and Hardy.
1:24岁时，维尔纳梦想的第一个大项目是重新构想尼诺·罗塔为费德里科·费里尼的电影创作的音乐。
2: 他与金发美女乐队的黛比·哈里和当时还不到20岁的年轻号手温顿·马萨利斯签约，然后飞到罗马向费里尼寻求改编权。
3:他后来回忆说，这就像见到狄更斯一样。
4:两人发现他们对《劳莱与哈代》有着共同的热情。
2: 他与金发美女乐队的黛比·哈里和当时还不到20岁的年轻号手温顿·马萨利斯签约，然后飞到罗马向费里尼寻求改编权。
3:他后来回忆说，这就像见到狄更斯一样。
4:两人发现他们对《劳莱与哈代》有着共同的热情。
(2). 1:They bonded further over a multi-course Roman lunch and drove around the city before the director dropped him off with the words, "I leave you to your destiny."
2:La dolce vita never seemed quite the same after that.
3:With its jazz and pop bands, its congas and its steel drums, "Amarcord Nino Rota" showed him what was possible, not so much with composing new tunes, but with music that had already been written: imaginative pairings of musicians and instruments and the breaking down of barriers between musical aeons and musical genres:
2:La dolce vita never seemed quite the same after that.
3:With its jazz and pop bands, its congas and its steel drums, "Amarcord Nino Rota" showed him what was possible, not so much with composing new tunes, but with music that had already been written: imaginative pairings of musicians and instruments and the breaking down of barriers between musical aeons and musical genres:
1:吃了一次多样化的罗马午餐，在这里兜了一圈后，他们更紧密了。离开之前，费里尼对他说，“随你的命运去吧。”
2:在那之后，《甜蜜生活》似乎就很不一样了。
3:《阿玛柯德》中尼诺·罗塔的配乐包含爵士乐和流行乐队音乐，康格斯舞曲和钢鼓，它向维尔纳展现了什么是可能的事情，不是关于创造新的音乐，而是关于已经创作出来的音乐：
2:在那之后，《甜蜜生活》似乎就很不一样了。
3:《阿玛柯德》中尼诺·罗塔的配乐包含爵士乐和流行乐队音乐，康格斯舞曲和钢鼓，它向维尔纳展现了什么是可能的事情，不是关于创造新的音乐，而是关于已经创作出来的音乐：
(3). 1:Lucinda Williams, a luscious American country singer, crooning Irish shanties like "Bonnie Portmore" or Marianne Faithfull, the chanteuse with the coal-tar voice—perfect for the music of underground Weimar Berlin—reimagining "The Ballad of the Soldier’s Wife" by Kurt Weill.
2:In 1980 he became the music coordinator for the sketches of "Saturday Night Live" (snl), which allowed him to mine his musical memory and gave him a regular income while he worked on one-off projects like marrying up Scarlett Johansson, Courtney Love and the emcee from "Cabaret", Joel Gray, for a charity evening at Carnegie Hall to raise funds for aids victims in Africa.
2:In 1980 he became the music coordinator for the sketches of "Saturday Night Live" (snl), which allowed him to mine his musical memory and gave him a regular income while he worked on one-off projects like marrying up Scarlett Johansson, Courtney Love and the emcee from "Cabaret", Joel Gray, for a charity evening at Carnegie Hall to raise funds for aids victims in Africa.
1:有想象力的音乐家和乐器的组合，音乐与音乐流派之间壁垒的打破：露辛达·威廉姆斯，一位性感的美国乡村歌手，低声吟唱着像《邦妮·波特摩尔》或《玛丽安·费瑟福》这样的船夫曲，她的煤焦油般的嗓音-用来诠释地下威玛文化的音乐再合适不过了-重新塑造了库尔特·威尔创造的《士兵之妻的歌谣》。
2:1980年，他成为《周六夜现场》整体音乐的统筹人，这让他能够挖掘自己的音乐记忆，并在他从事一次性项目时获得一份固定收入，比如斯嘉丽·约翰逊的结婚，科特妮·洛芙和《歌厅》中的司仪约尔·格雷在卡耐基音乐厅举办慈善晚会，为非洲的艾滋病患者筹集资金。
2:1980年，他成为《周六夜现场》整体音乐的统筹人，这让他能够挖掘自己的音乐记忆，并在他从事一次性项目时获得一份固定收入，比如斯嘉丽·约翰逊的结婚，科特妮·洛芙和《歌厅》中的司仪约尔·格雷在卡耐基音乐厅举办慈善晚会，为非洲的艾滋病患者筹集资金。
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