译自：http://designingsound.org/category/quotes/
译者注：这是来自不同声音设计师的10个观点，前面有翻译过其中两条，现在集合在一起分享给大家，期待有人叫板儿、有人拍砖、说说你的观点！

1. Silence 安静
“The ultimate metaphoric sound is silence. If you can get the film to a place with no sound where there should be sound, the audience will crowd that silence with sounds and feelings of their own making, and they will, individually, answer the question of, “Why is it quiet?” If the slope to silence is at the right angle, you will get the audience to a strange and wonderful place where the film becomes their own creation in a way that is deeper than any other.” —— Walter Murch
“声音的终极比喻是安静。如果你的电影里本该有声音的地方没有了声音，此时，在这种由观众自己创造的声音和感觉里，他们完全可以独立地回答这个问题：‘为什么这里是无声的？’　如果对于安静的偏好在一个适当的程度上的话，你会将观众引入一个奇妙的境地，电影变成他们用自己的方式获得的作品，这会比其他任何方式更加深入。”
2. Qualities 属性
“The emotional, physical and aesthetic value of a sound is linked not only to the causal explanation we attribute to it but also to its own qualities of timbre and texture, to its own personal vibration. So just as directors and cinematographers (even those who will never make abstract films) have everything to gain by refining their knowledge of visual materials and textures, we can similarly benefit from disciplined attention to the inherent qualities of sounds.” ——Michel Chion
声音的情绪、物理属性以及审美价值三者是联系在一起的，不仅是我们赋予它所要表达的结果，还有它自身的属性：音色和音质，以及振动发声的自我表达。导演和摄影师也一样，（甚至包括那些决不会拍抽象电影的），他们需要提炼所有关于视觉材料和画质的知识来获得经验，同样我们也是从严谨的观察才能了解到声音的本性。
3.Surprises 惊喜
“There’s no excuse for having a mental or creative block in sound. You can just go out and collect things in the real world – they make the sound, not you. It’s very restricting to always use a library for sound effects. It’s much more interesting and freeing to go out and record new sounds because you never know what you’re going to get.” —— Gary Rydstrom
“在声音里，其实不应该为在心理上或创意上出现瓶颈而找借口。你仅仅需要走出去，在现实的世界中收集声音——它们会自己创造出声音，而不是你。总是使用声音资料库里的声音是很受限制的。出去录音会更有趣和更自由，去录制新的声音吧，因为你永远不知道等待着你的会是怎样的惊喜！”
4.Opposite 对立
“Sometimes in the creativity area like sound, my instincts tell me to do one thing, but I do exactly the opposite and see what happens. For example, if you’re designing a scary weird creature, try putting in a high-pitched, low-level sound. Who knows, maybe that will be scarier.” —— Gary Rydstrom
有时在创造性的领域，比如声音领域，当直觉告诉我该怎么做时，我却刚好相反，看看会发生什么。比如，如果你正在设计一个可怕的怪异生物，可以尝试一个高八度、低音量的声音。谁知道，也许会更可怕一些。
5.Performance 表演
“Mixing is a performance. You sit down at the console. You’re alert, and you’re playing parts in the picture: You’re a robot, you’re a door, you’re a laser gun. And you get into it. You should be breathing hard and sweating when it’s over with.” ——Ben Burtt
混音是一场表演。你在控制台坐下来。你是活跃的，你正在决定电影画面的一部分：你是一个机器人、你一扇门、你是一杆激光枪。你完全投入进去了，当它完成时，你应该感觉呼吸困难、大汗淋漓。
6.Passion and Joy 热情和喜悦
“The most important advice I can give is to do this because you love it, and it brings you joy. If it’s part of you and you can never get enough, you are on the right track.” ——Frank Bry
我能给出的最重要的建议就是：做一件事是因为你热爱它，并且它也给你带来喜悦。如果它是你的一部分，你永远无法满足，那么你已经步入正轨了。
7. Emotion 感情
“The lesson is, don’t play the visual, play the emotion.” —— Al Nelson
有个教训，别玩视觉了，来点有感情的。
8. Logic  逻辑
“There’s a point where you can talk about things logically and then, after that, you have to leave the word of logic. I don’t know where a lot of these ideas come from. They just do”. ——Alan Splet
找到一个点可以让你有逻辑地叙述清楚事情，然后，在那之后，你需要离开那些有逻辑的词语。我不知道这些想法从何而来。他们只是这么做而已。
9. Chaos 混乱
“The thing you learn in film sound over the years is that if you have it being loud and chaotic over a long period of time it starts to lose impact, no matter what you do.” ——Gary Rydstrom
如果你很长一段时间，一直处于巨响和混乱中，那么多年来你在电影声音中学习到的东西，开始变得毫无作用了，无论你做怎样的努力。
10. Associations 协作
“It’s all about the emotional associations of sounds. It’s not about whether they’re really technically correct or not. It’s about whether they’re scary or relaxing or threatening or whatever helps tell the story.” ——Dane A. Davis
这是所有关于声音情绪的协作，并不是关于它们是否真的在技术上正确。这是关于它们是否很吓人或放松或威胁或任何帮助叙事的协作能力。