2009
Golden Horse Awards
最佳紀錄片｜最佳剪輯｜最佳音效
Directed by 張經緯
最佳紀錄片｜最佳剪輯｜最佳音效
Human Being。是主角最在意的一件事，為什麼手指會動？為什麼人會有思想？到底有沒有神？無論是天才或地材，作為一個人永遠是活著最大的挑戰。
1:24:34 此愛非彼愛，何嘗又不是愛，何謂愛
21:03 KJ作為音樂神童的經歷、以及片中拍攝出的音樂訓練的鏡頭，讓被攝者近乎獨裁，也顯得影片殘酷。導演的意圖透過影片傳達的其實十分清楚，但也讓人困惑的是，兩位指導者，分別是未成年人與成年人，兩人對待未成年樂團的語言使用、還有權力關係，到底可以如何在鏡頭內平衡？未成年人如何意識到鏡頭語言的紀錄未來會如何傷害自己？這些殘酷的直面鏡頭，加上KJ近日在片外的獨白，也讓此紀錄片更顯艱難。
黃家正的天賦異稟不禁讓我想起福爾摩斯（尤其拉著提琴的身影），因高處不勝寒而渾身散發著一股孤傲的氣息，比如比賽即將開始卻不願加入祈禱的行列， 「我像是要要祈禱的人嗎？我需要嗎？相信自己就好了。」又比如快要巡迴演奏了，他卻說鋼琴不用練太久，「用腦想想怎麼彈就行了。」這種自信的言論乍看驕傲自負，實則早已經領略我們無法觸及的境地，故以凡人的思路來理解他們是不妥當的。 黃從小就展現了驚人的音樂天賦，且年僅十一歲就語出驚人：「完美是撥弦在同一秒，音準在同一點」，又或者父親問到你的人生不就是音樂嗎？而他答：「一半，」「另一半拿來做人。」不僅如此，他還經常思考連大人都未想過的哲學問題：「為何手指會彈琴？為何我會說話？為何我會思想？」「人為何存在？」難以想像這些話出自十一歲男童之口。 黃從不加入比賽前的祈禱與精神喊話，甚至有點鄙視。他認為演奏是為了音樂，而不是為了贏得比賽，金錢、成就確實是生活也是享受，但音樂才是生命，音樂就是人生主體。黃對音樂極具洞見，但也正因聰明過人，他的自信與狂妄有時候教人抓狂，紀錄片中就節錄了不少親人好友的訪談，透露了他們對黃自傲性格的厭惡。 然而，這部紀錄片的出色之處就在於呈現了黃性格的多種切面，除了自信桀驁，黃在導師羅乃新面前展現了無窮的尊敬與謙卑；在疲憊之餘流露出軟弱和孤獨的一面；它的眼神也在訪談之際湛著一絲絲的憂傷，他對音樂的理解是超齡且寂寞的；這些切面都是在神童光環褪去後才看得見的黃家正，也是一個更加「人性」的黃家正。在兒時錄像、成人訪談與演奏片段的剪輯交錯之下，我們能清晰地看見黃從神童一直到長大成人的轉變，他的思想更成熟了，也開始更關注他人的感受，但好奇、孤傲、早熟依舊是他的本質，而對音樂的思索仍馬不停蹄地奔騰著——「音樂是否能用科學解釋？」「為何當我凝神屏息，聲音就不同？彈琴不就是在搥打琴弦嗎？」 我認為片名《音樂人生》取得很好，比起用神童、天才等字眼來概括黃這個人，追尋人生的意義更能契合黃終其一生都在尋解的課題。令人印象深刻的是，黃在片尾說到「鋼琴演奏家一詞太籠統，頻繁出國演出又意義何在？」他認為為巡迴四處奔波不是為音樂而演奏，而是為演奏而演奏。因此，他的終極目標是成為一個「人」，不但要有良知，更重要的，是做一個擁有「人性」的人。
1:31:22 相當出色的剪輯，將小時候的錄像和長大後的訪談來回交錯，不實穿插與家人日常生活中的互動以及諸多演奏片段；讓我們在自負狂妄的表象之下看見黃家正脆弱、堅強且人性的一面。
音樂人生 這部電影以小時候和現在的黃家正故事交叉比對，在音樂生涯探索他的內心故事，對於音樂的世界他的看法完全顛覆我的想像，雖然在身邊的人某種角度而言那叫作狂妄，後面有一大票對人生 哲學疑問到影片結束都未能解開，但讓人算是認識他敏感堅強的一面‧
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