User:Azusa1226/Willow (song)

en:Willow_(song) / 柳 (歌曲)

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柳 "Willow"
泰勒·斯威夫特的单曲
收录于专辑《恆久傳說》
语言	英語
发行日期	2020年12月11日 (2020-12-11)
格式	數位下載 串流媒體
录制时间	2020年7月
类型	獨立民謠
时长	3:34
唱片公司	聯眾
词曲	泰勒·斯威夫特 亞倫·戴斯納
制作人	亞倫·戴斯納
泰勒·斯威夫特单曲年表
唯一 （2020年） 柳 （2020年） 無證無罪 （2021年）
音乐视频
YouTube上的〈柳〉

〈柳〉（英語："Willow"，風格化為全小寫）是美國創作歌手泰勒·斯威夫特的歌曲，於2020年12月11日由聯眾唱片發行，作為她第九張錄音室專輯《恆久傳說》的首波主打曲。該曲是室內樂風格的民謠情歌，在吉他撥弦、鐘琴、長笛、弦樂和打擊樂的伴奏下，運用多種隐喻（如將人生比喻為柳树）傳達她的浪漫心境。

斯威夫特與歌曲的製作人亞倫·戴斯納共同創作了〈柳〉。她將歌曲主題比作施放愛情咒語。由斯威夫特執導的音樂錄影帶隨歌曲一起發行，內容為〈羊毛衫〉音樂錄影帶情節的延續，片中斯威夫特隨金色線條引導，經歷一段傳奇故事，並將她帶到命中注定的愛人面前。該音樂錄影帶受到了樂評家和觀看者的廣泛好評，著重讚揚了其浪漫的抒情詞句和吉他為中心的音樂。

〈柳〉發行後即空降告示牌百大單曲榜首，為斯威夫特在美國的第七首冠軍單曲，第三首發行首週冠軍單曲，也是2020年第二首冠軍單曲。此外，《恆久傳說》發行首週登頂《告示牌》二百大專輯榜，使斯威夫特成為史上首位兩次同時登頂兩個榜單的歌手（第一次為《美麗傳說》和〈羊毛衫〉）。〈柳〉在《告示牌》熱門另類歌曲榜、熱門搖滾及另類歌曲榜、數位歌曲榜、成人四十強單曲榜等皆奪冠，並在澳大利亞、加拿大和新加坡等地榜單奪冠，在比利時、克羅地亞、匈牙利、愛爾蘭、馬來西亞、新西蘭和英國等地榜單進入前十。斯威夫特首次在第63屆格萊美獎上現場演唱了〈柳〉，《滾石》稱其為史上最偉大的格萊美獎表演。〈柳〉的音樂錄影帶於2021年MTV音樂錄影帶大獎獲三項提名。

Music video

Synopsis and analysis

The "Willow" music video is a continuation of the "Cardigan" video, picking up where the former left off. Swift, drenched from her oceanic voyage, sits covered by a warm glow of her rustic cabin. A golden string in her hands (referencing the 民间故事 (泰勒·斯威夫特专辑) track "Invisible String") leads her to an 作品中的多元宇宙 inside the back of her magical piano that helps her to traverse 时空. Swift has used the color 金色 to represent her boyfriend, 喬·歐文, throughout her albums 舉世盛名 (2017), 情人 (泰勒絲專輯) (2019) and Folklore. The piano opens into a rabbit hole under the roots of a 柳树 in an 秋季al forest, on the other side. Swift emerges from the willow, embarking on a mystical journey guided by the magical thread. She sees a reflection of herself with a man (Korean-American dancer Taeok Lee) in a 月光 pool.

Taylor Swift is seen trapped inside a glass box with wooden frames. A man is seen outside of the box, looking in.

A scene in the "Willow" music video, where Swift is trapped inside a glass box, unable to join her love interest

The string later leads her to a scene from her childhood (a reference to "Seven"), where the child versions of Swift and Lee are seen playing together with the string, suggesting that the pair is destined to be together. Swift exits the tent and finds her adult self at a carnival tent party, where she performs with a golden mist-emitting 魯特琴 inside a glass box (a metaphor from "Mirrorball"), dressed in a cream-colored Zimmerman gown and a 新娘 headpiece by Jennifer Behr (a "愛的故事 (泰勒絲歌曲)" reference). While Swift finds Lee, she is trapped inside the glass box, which Swift described before the video's premiere as a metaphor for her feelings about fame. She then realizes that the only way out is to follow the magical thread through the rabbit hole under floor of the glass box, a scene that may represent Swift reaching her lowest moments before finding a golden path once more. During this scene, Swift looks into the camera directly, while mouthing the lyrics "I come back stronger than a '90s trend", a nod to 1989 (泰勒·斯威夫特专辑), which is her first 流行 (音樂類型) album.

The scene shifts to a wintry forest, where Swift emerges hooded in a 斗篷 reminiscent of her video for "準備好了嗎" (2017). She is joined by other hooded dancers who gather in a circle to perform a ceremony around a 篝火 that oozes lots of golden mist and magical orbs. Swift has referenced 巫術 in previous songs such as "...Ready For It?", "我的错" (2017), and "Mad Woman" (2020). While dancing, she finds the golden string once again and follows it, leading her back to her cottage. Lee pulls off his mask and looks at the departing Swift in despair. Swift exits the piano wearing a new gown, representing the journey back to her roots as a changed person due to her experiences in the outside world.

At the end of the string, Swift finds out that she is not alone in the cottage and that the string has guided her to back to her lover, Lee, while the lyrics "every bait-and-switch was a work of art" play. The scene sees Swift appreciate the obstacles in her life that led to their relationship. The hook that she repeats throughout the song—"I'm begging for you to take my hand / Wreck my plans, that's my man"—finally comes true at the video's end. The couple walks out the door, holding hands, into a forest shrouded in golden sunlight. This climax references "Daylight", the final track on Swift's seventh album 情人 (泰勒絲專輯), in which she sings about abandoning her cloaks, and how one has to "step into the daylight and let it go".

Production

Taylor Swift shooting the music video for "Willow" using a remote-controlled camera fixed on a crane.

Abiding 2019冠状病毒病疫情 regulations, the music video was shot using a remote camera mounted on a jib, without the need for a professional camera operator.

The cinematography was handled by Rodrigo Prieto, who worked on the "Cardigan" video as well. Swift did not reveal to Prieto or the technical crew that the video was for a new album or song, so the video was shot without using the song. The shooting took place under strict 2019冠状病毒病疫情 safety measures, including 2019冠状病毒病检测 protocols, as advised by 美国导演工会, Screen Actors Guild and International Cinematographers Guild. The entire crew, including Swift and Lee, had their masks on; the pair took off their masks only during action. The dancers in the scene depicting witchcraft had their masks on while performing, thus their faces are not visible in the video. A color-coded system was used to signify which crew member could be close to the set and the actors; anybody in immediate vicinity of a scene had to wear a red wristband. Face shields were used whenever Swift or any cast was approached. The video was shot without a camera operator, using a crane-directed remote camera.

The pre-production phase was a back-and-forth interactive process between Swift, Prieto and other technicians. Swift wanted the video to conclude back in the cabin (as with "Cardigan") and that her lover, Lee, would be inside when she returns. Upon further discussion with Prieto and team, it was decided that both Swift and Lee would leave the cabin at the end. Swift initially developed the idea for the video as set at night, but then decided it would occur during the daytime. For the witchcraft scene, Swift did not want to use a real bonfire due to the 2020年加利福尼亞州山火. Instead, she conceived of using magical orbs.

Ethan Tobman, the 美術指導, presented Swift with reference images and ideas for the sets, and one of them was having magenta leaves on the ground, which the singer liked. Tobman also suggested the idea for the autumnal forest. He worked with his art director, Simon Morgan, over Zoom (軟體). For the bonfire scene, Morgan and Prieto, gaffer Manny Tapia and key grip Donald Reynolds, sound-staged first and taped the space in the center where the magic orbs would be. The distance was measured to the 色键 background, and taped the spots of the trees, and mapped the lighting for the set of the carnival scene.