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Interview: Shiro Sasaki




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GATSU



Joined: 03 Jan 2002
Posts: 14396
PostPosted: Sat Dec 19, 2009 2:41 am Reply with quote
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I've never taken an artist that needs promotion and tried to needlessly fit their music into anime. The most important thing is to create a song that fits the film.


Which is why a lot of anime openings suck so badly nowadays-because other producers clearly go in the opposite direction.
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21stcenturydigitalboy



Joined: 20 Aug 2008
Posts: 103
Location: Virginia Beach, Virginia
PostPosted: Sat Dec 19, 2009 7:27 am Reply with quote
Very nice interview, and I'm very interested in hearing that Tree of Palme music now. I believe I saw the first 10 minutes or so of this movie, and I don't know if it's because it was dubbed or just boring, but I stopped watching and probably didn't have a chance to hear the music.
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SXAniMedia



Joined: 15 May 2009
Posts: 139
PostPosted: Sat Dec 19, 2009 4:17 pm Reply with quote
Another fascinating interview. How did you cram doing all these things at the convention? Surprised

Looking forward to reading your Hosoda interview.
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jsevakis
ANN Director of New Media


Joined: 28 Jul 2003
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Location: Los Angeles, CA
PostPosted: Sat Dec 19, 2009 9:39 pm Reply with quote
SXAniMedia wrote:
Another fascinating interview. How did you cram doing all these things at the convention? Surprised


I still don't know. I was exhausted. That whole weekend is just a blur for me.
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Fuchsia



Joined: 27 Nov 2009
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PostPosted: Sun Dec 20, 2009 6:37 pm Reply with quote
Thanks for interviewing someone from the music side of anime. It was a good interview. The Ondes Martenot is a fantastic instrument that Elmer Bernstein used often for soundtracks, i e Ghostbusters and Heavy Metal. If you really want to hear it shine give any Radiohead album released after 2000 a listen. Johnny Greenwood uses it quite a bit. Listen to "How To Disappear Completely".

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Justin: I'm under the impression - please correct me if I am wrong - that anime music is not composed in the same way that an American film score is composed, . . .Do they get design sketches? What do they start with?


Seems like Sasaki did not really answer this question. His response more explained the direction a composer takes to create a feeling or emotion for a scene compared to how american composers do. They have to get something to base music on; character designs, basic animated scenes. I would like to know how composing is done specifically for films.

Good interview. Thanks again and looking forward to the others.
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Yuki_Kun45
It...it's not like I post for you or anything!It...it's not like I post for you or anything!


Joined: 26 May 2008
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PostPosted: Tue Dec 22, 2009 12:36 am Reply with quote
I think because it's animation and the work is seldom done right away I think Composers get sketches and/or things called "Music Menus" from the director which outline what they are looking for. During the anime pre-production phases. So they write for x amount of time which is why you'll likely see lower budgeted animes use more of the same.

At least this is how Yuki Kajiura described her day to day basis of composing so I can't say the same for every composer in the business and anime is also unique because it usually features two theme songs.

As far as I know in Hollywood live action movies a composer is brought in during Post production and shown a cut of the film (probably the Editors or Directors cut) and of course the sound editors and mixers put it all in. And if you want songs then your music supervisor handles the process of getting song (original or pre-made).
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