John UM
The “Magic Girl Madoka” broadcast in 2011 is one of the masterpieces of Yuki. When Zhapu received the contact “Would you like to do the music of the magical girl animation”, she was overjoyed: “Great! I finally got this kind of work!” She was so angry that she wanted to write a lot of cute girls’ music. But the other party said to her: “Nothing, it is very suitable for your story of Zhapu teacher.” She had a question mark in her mind at first, and later realized what was going on
Zhapu recalled that the “Magic Girl Madoka” script is very interesting, and the art is also unique. The protagonist of this work is a junior high school girl, and her career is very narrow. She then made “Fate/Zero” (2011), although the latter also appeared in the magic, but it is about the story of the adults, the vision is very broad. The debut characters of “Magic Girl Madoka” are only the girls who can see the moment. Therefore, she also wants to make music that only looks at the moment, not the music that overlooks the panorama
Therefore, the music of the Witch’s world is not a horror in the eyes of adults, but a very strange horror. When you are sad, you are sad and sorrowful. There is no objectivity in your eyes. There is no one else in your eyes. Your sorrow is everything in the world. Subjectively, you feel disgusted by others: “As for this?”, this is what Zhapu wants in “Magic.” The music created in the girl Xiaoyuan
The “Fate/Zero” with similar time is just the opposite. What she wants to do is the music that will sink behind the background, so she doesn’t write a song with a particularly strong personal style. “Magic Girl Madoka” is the subjective music of the world seen in the eyes of the characters, and in “Fate/Zero”, she wants to stand in the perspective of the audience watching the world, making the background in the protagonist The music of the rogue. Therefore, in her mind, the distance between the two animations is completely different, and the sense of rhythm and production method are completely opposite, which is very interesting
The “Sword Art Online” that began to air the next year is based on the world of VR games. Zhapu also loves to play games, so he wants to restore his desire to play games and make players “hope that the music will be played in the game.” Therefore, the rhythm of the music of the work is also quite fast. However, the basic setting of the story is also cruel, so she hopes that she will make the music of the singular fantasy and the game world
The two recent works of Zhapu – “Ghost Blade” and “Grace Note of the Monarch II Event Book”, the country, the setting, the era are completely different Will also receive different requests
In fact, in “The Blade of Ghosts”, Zhapu only wrote 5 pieces of music, and the rest was basically completed by Shiina. What she produced was mainly the part of the story that was very tragic at the beginning of the story. After the prologue, the story began to grow like a roller coaster, and the music with a strong sense of speed was put up. And Zhapu is responsible for the tragedy in the snow, so the imagination is very cold when I was making it
In addition, the setting of “Ghost Blade” contains “ghost”, a Japanese legendary creature, very close to folklore. Therefore, Zhapu first tried traditional Japanese folk music. She conceived a phrase that sounded very traditional. It would be beautiful if it was played with strings, but it would be a bit unstable when written as a folk song. The music she is responsible for is basically done with the phrases of this theme music
“Second Event Book” is a sequel to “Fate/Zero”, but the style is completely different. “Fate/Zero” is a large-scale work depicting heroes, and “Second Event Book” is a detective drama, which describes a very personal mood. I love Agatha Christie’s Zhapu, who wanted to use the feeling of Hercules Poirot to write as a British reasoning drama; but the Second World Event Book is a world of magical and fascinating roots, if personality No longer strong, it can’t keep up with that sticky feeling
So, she adjusted her direction and made the music feel the sticky feeling of the magic, while the high-pitched part was light and brisk. When the treble uses elegant and elegant phrases, the bass part uses an unpleasant tone, which is superimposed and listens to people’s hearts. This kind of contrast, if not actually heard, will not understand whether it meets her expectations. Therefore, she repeatedly tried and modified, and while composing the original work, she became a music like “Reading and Imagination.”
Zhapu Yuji not only composed music for animation, but also participated in the creation of live-action movies and musicals, and produced a wide range of music. In her opinion, what is the difference between real-life and animated music?
梶浦 replied that although it cannot be generalized, real people have real pictures, so people who watch will naturally imagine the appearance outside the picture. This is the advantage of real-life works, and animation cannot be done. If you open a magnificent scene in a real person’s work, the audience will feel that there is a scene outside the picture. And if a monotonous piano sounds in this vast world, the audience will sound like the music in their hearts
But if you do this in the animation, the world that should have been wide will suddenly become narrow. Therefore, Zhapu believes that the music of animation must also participate in the shaping of the sense of loneliness and color. This is one of the reasons why she values the background image. Although the script wrote “Prairie”, it may be an innocent prairie, or it may be a grassland in the backyard. The y music of the two scenes is completely different
As such, it seems that animated music is more ruling. But Zhapu said that the opposite is true. Animations are shallower than movies, and there are more young people in the staff, so they don’t follow the rules. As long as they are handsome enough, they can do it. This may be the biggest fun of animated composers. And real people have strict rules. This is not a bad thing, but a tradition of the world of film and television. Therefore, she must fully communicate with the production team, reach a consensus, and then proceed to make
Of course, there are many ideas in the music of real people that can’t be restrained. Zhapu feels that the rules have been shaken recently. The music of real drama is influenced by animation music and becomes very flexible
As for the interesting aspects of animated music, Zhapu also said in the second part of the serial, animation can write very exaggerated music. She said that even when she was composing, she felt that she had overdone it. In the animation, it would not be too exaggerated. In the animation, you can write music with very high emotions: use the classical harmony of the big compilation, slamming the cymbals, and finally “嗡-!!” to close the end, making people feel “this is absolutely dead. There are a hundred people!”. The music that can make the listener want to die, the person who wrote it is also made with great pleasure, very happy
And when she wants to give some advice to readers who want to do animated music, Zhai Pu said that he only had luck because of luck. To be honest, it is not clear how to get such an opportunity. But the soundtrack comes to the end, what kind of music you want to play in this script, and to find the right answer. Therefore, she will think, assuming that a book is to be filmed, what kind of concert is appropriate. No matter what works, it starts from this step. I have a work first, and I will perform the scene in my heart. As Zhangpu said in the second part, what is necessary for the soundtrack is not excellent music, but music suitable for the scene
When you first started working on a soundtrack, people often wanted to write all the songs into excellent songs, so the force was too strong and the soundtrack was too noisy. Zhapu himself made several such mistakes in the past. Nowadays, she understands that music that allows people to see the scene and can harmoniously blend in with the scene is the victory. However, there are also places where “excellent songs” are needed. This is another difficulty in animated music