John UM
From the series of “The Realm of Space” series, Zhapu has always maintained close contact with TYPE-MOON, Aniplex, and ufotable. The trilogy of this theatrical version of “Fate/stay night [Heaven’s Feel]” The music and theme songs in the play are also arranged by Zhangpu
“Empty Realm”, the entire series of works are combined with the “Film scording” of the sound and picture to create a soundtrack. Through the work of “The Realm of the Air”, Zhapu has also made great progress, which has become a major turning point in her life. Most of the ufotable works that Zhapu took over were dark-type legends, and the tragic fate was waiting for the protagonists, and the scale was also very grand. Whenever creating music for these works, Zhapu can always see the legendary heroes in history leading the majestic scenes of the Qianjun Wanma charge in the forefront and assaulting the enemy camps. However, these heroes will often come to the end. The tragic ending, so this kind of work will make Zhangpu feel confused. “Is this an ufotable work, or a Hollywood work?” Just like the enemy’s laughter, Zhangpu was also very interesting when he wrote music
“Heaven’s Feel” is the darkest and most fleshy route in the gloomy love story of “Fate/stay night”, which strengthens the proportion of the heroine of Sung Sakura, and the background music plays a very important role. When creating the dark side of women such as Sakura’s heart, Zhapu used a style that is closer to the individual, which is quite a challenge for her, but she said it is worth trying
Of course, Zhapu admitted that it was quite difficult to write the music of the first chapter. Because this is a work created after watching the TV series and playing the original game. But in fact, even if I don’t know the “Fate” series, I haven’t watched TV animations and have never played the original game. If I can stand on the standpoint of Sakura, it will be easier to invest in the work of Heaven’s Feel. Most of the other “Fate” series are adults who have formed on the personality surface, while “Heaven’s Feel” is more of an “unfinished” character. This is what Zhapu thinks is the charm of Heaven’s Feel. When watching the film, I believe that everyone will have the idea of “want to guard Shi Lang and Sakura”, and Zhapu has the same idea when writing music. Whether it’s a dark fantasy story or a love for a young girl who is stinking, “Heaven’s Feel” is a work worthy of a step-by-step cinema
When Zhapu used to write lyrics in the past, he generally did not deliberately write to the direction of the characters in the play, avoiding as much as possible. While writing the theme song of “Heaven’s Feel”, Zhapu hopes to use the lyrics to endorse the hero’s mood. I hope that the audience will like the role of Sakura after watching the movie. Therefore, in the first chapter of the theme song “Flowerの呗”, Zhapu specially used the lines in the play, making this song an explicit song of Sakura
梶浦 says “Flowの 呗 这 This song is written towards the goal that “the audience can like Sakura after seeing the first chapter”, while the theme song “I beg you” in the second chapter is more than “Flowの呗” came even more explicit, and the feeling I felt was like Sakura when the beloved Shi Lang shook the veil. Zhapu said, therefore, compared to “の呗”, prefer “I beg you”, even beyond the “like” feelings. In the second chapter, Zhapu is also the first to write “morbid songs” for the dark face of Sakura, and these morbid songs need to undergo rigorous calculations in the process of writing. Sakura has a side that releases self and sneers, but she is not suitable for her sickness. Zhapu wants to vividly express her cold eyes and what she is thinking about in her heart. In music, she uses the direction that Lianpu himself feels unexpected. The result is the most consistent. The music in the second chapter is the work written by Zhang Pu. She is also looking forward to the audience’s reflection after watching the film. Can they accept these songs? The lyrics of “I beg you” are also somewhat offensive. At the beginning, Zhapu was still worried about whether Aimer would ask for changes when he sang, but Aimer readily accepted all the requirements of Zhapu and gave her a sense of peace of mind
For the difference between the real shot image and the composition for the animation, Zhapu said that this is a special look. In real shots, music sometimes “betrays the space.” For example, the scene is a vast wilderness. At this time, the piano music is relatively dry. If it is a real shot, it will look better. Even if the sound violates the size of the space, the person who reads it is the information obtained from the vision, and unconsciously equates the sound of the piano with the voice of the hero’s heart. This is an intentional performance technique. However, if it is an animation, using a narrow sound in a wide space will make people feel that this space is compressed. Therefore, the music in the real shot image can be different from the size of the space, and the animation is absolutely impossible. Zhapu believes that music must follow the animation settings, and also consider music when designing the world view. Therefore, before creating music for the work, Zhapu will pay great attention to the size of the world in the play. First, he will get scripts and background paintings, and consider the creation of music according to the size and color of the world view. At the time of his creation, Zhapu also preferred the effect of music in his works. When you see the finished image, the music that can be created according to the light and shade of the picture will be more in line with the lines of the protagonists
I believe that every viewer who has seen the first chapter is looking forward to the second chapter. Zhapu also said that this is a work that will not betray the audience’s expectations. Please be sure to go to the cinema through the big screen and all-round sound. Feel!
[References].
- Movie Walker:実とアニメのMusic productionの失いは?梶浦由记が明かす『Fate』サウンド・クリエイトのSecret