明哥配乐之初黄耀明,这个极其热爱电影的人,为电影配乐的概率比参与电影演出的概率要小,而他的许多作品灵感都来自电影,并且音乐永远都是主角。何况如今电影给配乐留的空间又如此狭隘,能发挥的余地十分有限,以黄耀明的性格,大概不愿花费太多精力去做一件慢而且效果不大的事。以往参与电影配乐,多数仅限于主题单曲,如为刘德华和张柏芝主演的《大块头有大智慧》写下《身外情》,为关锦鹏导演的《越快乐越堕落》翻唱了王菲的《暗涌》。《身外情》的缱绻之中暗含禅意,隐隐有出世之风,因果循环情缘幻化,有说不出的香醇,却没沾染电影的惨烈,倒像是对现实的超度,旋律之唯美和意境之超脱,都更像当年达明一派代表作《石头记》的续篇,呈现出一种古典的韵味。《暗涌》的重新编曲和演唱使之成了许多人的胸口隐 Anthony Wong, the very beginning of Ming's soundtrack, is extremely film-loving, with a lower probability of soundtrack than filming, and many of his works are inspired by movies and the music is always the protagonist. Moreover, the space reserved for movies today is so narrow that there is very little room for them to play. It is probably unwilling to spend too much energy on slow and ineffectual matters because of Wong Yat-ming's character. In the past involved in the movie soundtrack, the majority is limited to the theme song, such as for Andy Lau and Cecilia Cheung starring “big man has great wisdom” wrote “outside the body” for the director Kuan Kampeng, “the more happy the more corrupt” cover Faye Wong “ ”. Implicit in zanba of the “extramarital affair” is the implication of Zen Buddhism, the faint appearance of the wind of the birth, the illusion of the causal cycle of love, the unspeakable mellowness, but not the tragedy of the film, but rather the superrealization of the reality, the aesthetics of the melody The detached artistic conception is more like the sequel to the “Stone Note” of the masterpiece of the Ming dynasty, showing a classical charm. “Undercrow” re-arrangement and singing make it a lot of people's chest hidden