關於 all will smith movies ，我們在網路上蒐集到這些相關的討論、資訊與評價

ถ้าคุณเศร้า.. ขอเวลา 2 นาที (I finally made English subtitles for this video! Just press Settings>ClosedCaptions and you guys will understand what I'm saying :) )

"ผมคิดว่าความเศร้าของคุณ.. สามารถเป็นของขวัญให้โลกและสร้างความสวยงามให้โลกได้"

มีคน inbox มาว่าคนที่เขารัก มีอาการเศร้าทุกวัน ผมเห็นว่าเขาอยากช่วยมาก และรักแฟนของเขามาก..
ความรักนี้ ช่วยสร้างแรงบันดาลใจให้ผมตัดต่อวิดีโอนี้ทั้งคืนและทั้งวัน
ขอบคุณมากครับสำหรับ แรงบันดาลใจ ผมหวังว่าทั้งสองคนจะดีขึ้นนะครับ

ฌอน บูรณะหิรัญ

Music: by Ross Bugden
Artists: Sam Smith, Adele, Lana Del Rey
Movies: Jobs, Her
All copyrights go to their respective owners.

Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use..

以下為年輕的新秀樂評家林紙鶴的翻譯

東尼史考特：

雖然我得知東尼過世的消息，我才剛從英國一場音樂活動離開，但這簡直就是場噩夢。我由衷致哀給東尼的夫人，唐娜史考特 (Donna Scott)，以及他的孩子、史考特家族。這真的是極度讓人悲傷，又讓人不解他為何要選擇離去。

我十天前才跟東尼說過話，那時候我正要離開美國，因為我接下來放下工作、渡個假。接下來的一年內，我也會銳減接案量，然後多陪陪家人、講講課、作些演出。東尼知道我的計劃，所以他很驚訝，因為他有新電影要籌拍了，要是我消失了，那配樂誰作？他開玩笑說，不管我跑去哪邊神隱起來，他一定會把我給挖出來，然後我們又能繼續並肩作戰。

東尼總是給我信心、正面的態度，讓我配樂總是作得很開心。他鼓勵我，不論我們這次作哪部電影題材，都要有無比積極的信念，然後不要想太多好或不好。他信任我，並讓我知道他總是在挺我。因為有了共同目標，為了東尼如此信賴我的音樂，我總是百分之百投入他的電影中；而他也是如此，把我視為他創作上的重要支柱，忠誠情誼不可言喻。

我第一次認識東尼，是他1996年的棒球驚悚電影《烈火終結令》(The Fan)，那部片的配樂是漢斯季默 (Hans Zimmer) 寫的。你可以說是漢斯把配樂案子，後來轉接到我手上，因為東尼那時候不斷給漢斯壓力。有天晚上，我跟漢斯的音樂剪輯師發現他躺在工作室廁所外的地板上，因為他壓力大到昏厥過去、不省人事；當他醒來後，漢斯告訴我，要跟東尼合作需要鋼鐵般的意志，假若有個人總是要你隨時進入緊繃的戰鬥狀態，那必定是東尼史考特。

此後，我就開始跟在東尼身邊了！

東尼有點像是戴著粉紅棒球帽的巴頓將軍 (George Smith Patton，二戰時期美國重要將領)，而且確實是個強大、讓人難忘的藝術家。身為導演，他無所畏懼、意志剛硬卻又情感細膩；他總是知道自己要拍的是甚麼感覺，但工作的時候他又不失幽默感。回頭想來，這輩子能跟他共事，很幸運、很幸運... ...。

我愛東尼史考特給我的配樂案，而且我可以很誠實地說，每一次合作經驗都讓我留下永不磨滅的回憶。從悲傷的《火線救援》(Man On Fire)，酷炫的《間諜遊戲》(Spy Game)，到瘋狂的《女模煞》(Domino)，東尼總是全心全意地付出他所堅信的熱情；能在他身邊作配樂，接連一部、兩部、三部...這簡直就是天上掉下來的禮物！

我永遠懷念你，東尼！真的...永遠！

哈利葛瑞森威廉斯

Tony Scott

The news of Tony's death reached me whilst I was leaving a music festival in the UK and, like many others, I find it nothing short of devastating. My heartfelt sympathy goes out to Donna, and to his boys and the rest of the Scott family. What a desperately sad & bewieldering loss.

I last spoke to Tony about 10 days ago just as I was about to leave the US for my upcoming sabbatical year. A year in which I had decided not to score many, if any, films & do considerably less studio work in order to focus instead on my ever expanding family, and on some teaching and performing projects. I had previously talked to Tony about this plan of mine and of my anxiety at the possibility of being unavailable to him for his next film if he were to go in to production quite soon....he joked with me that he would track me down wherever I was and we would 'go into battle' once again no matter what. He thought the timing would be just perfect and told me I wasn't to worry.

He was always confident and optimistic towards me and my music. Always. He encouraged me to have faith in what we did together and not to worry about anything or anyone else. He believed in me, and he let me know it, which I found unusual and exceptional. It was understood between us without it ever having to have been said that complete & total commitment and 100% immersion in our work was all he required in return for this trust & belief. I'm certain he was the same with all his creative team as he recognized a kindred spirit and demanded a fierce loyalty.

I first met Tony way back on his rather grim movie 'The Fan'. You could say it was on that score that Hans Zimmer passed scoring duties of his movies over to me. Tony pushed Hans very hard during that time. Hans' music editor and I found Hans lying on the floor outside the bathrooms at Media Ventures one evening. He'd over done it and had momentarily collapsed under the strain of that score. As he recovered in a chair, Hans told me that working with Tony required nerves of steel but that if there was one person you could follow over the top and 'in to battle' it would & should be Tony Scott. So I did.

He was, indeed, a kind of Patton-esque character (albeit pink hatted) and a truly unforgettable & formidable artist to work with. Fearless yet thoughtful, strong as an ox yet amazingly sensitive, always utterly focused on his vision, yet never lacking in humor and compassion and never losing sight of his and our great fortune to be working on movies for a living.

I loved scoring movies for Tony Scott and I can honestly say that each and everyone of those experiences has left an indelible mark on me. From the sadness of 'Man on Fire' to the kick in 'Spy Game' to the lunacy of 'Domino', Tony always believed so whole heartedly and passionately in his work that it was nothing short of a privilege to be a part of his team, time and time again.

He was a one of a kind and will be sorely missed.

Harry Gregson-Williams
Tony's composer:

Enemy of the State
Spy Game,
Beat the Devil,
Man on Fire,
Domino,
Deja Vu,
The Taking of Pelham 123
Unstoppable,