Princess Mononoke. A tower in the sky. The gap. It's hard to imagine any of these films without the hallmarks of Joe Hisaishi's plot. Decade after decade, he has consistently written some of the most memorable movie music of our time. I thank the goddess for that.
This month, Hisaishi is releasing a very important, 2-disc album Dream Songs: Essaential Joe Hisaishi with tracks from Studio Ghibli and Beat Takeshi films. Check out this excellent version of "Summer."
I actually first met Hisaishi's music with the Beat Takeshi films and not the Studio Ghibli pictures. In the 1990s, I was joining a company distributing movies for the first time to release a Beat Takeshi movie in the United States. This image was there Sonatine, and as much as I loved the film, it was a figure that stuck in my head in the days and years that followed.
When I first got into the Studio Ghibli movies and found out that Hisaishi had scored them, I was struck by how varied and varied the emotions he needed. He is a truly remarkable composer.
To mark the release of his best album, I did a Q&A with Hisaishi via email about his work and his creative process. The conversation was in English, so when I asked him if he used a different approach to action movies and animated movies. “Generally they are different – but, The gap Looks like something Ghibli-esque, ”answered Hisaishi. Having scored points It's Wood games, Hisaishi also pointed out the differences between movie and movie music, noting that video game scores have no detailed issues with time or the same length in cinema.
When asked how long it takes to finish the song, Hisaishi said it depends on the situation, but with the music of the film, it takes one to three months to finish the music. "Sometimes I write by hand while playing the piano, sometimes I type on a computer using the keyboard."
You can read the whole interview below.
Why did you start learning violin at the age of four? Were your parents artists? Have you shown musical talent since childhood?
There is no single reason to start a violin but when I was young, my dad had a gramophone power using bamboo needles, so, I listened to a lot of music – whatever the genre. My parents were not musicians, but in elementary school, I was a member of the brass band band, where I played trumpet, trombone, saxophone, and practiced with them. It was fun to write so many popular songs on the bases and get everyone playing.
What influenced your music? Which artists or bands have made the biggest impact on you?
I listened to all kinds of jazz during high school days. When I first started studying piano for a music college exam, I came across it Glen Gould & # 39; s J.S. Bach "Establishment and Symphony." I also listened to Shostakovich, Schoenberg, Webern, Berg and Boulez. I was shocked by Terry Riley & # 39; sRainbow in the Wind”And then they started listening to more young composers like Philip Glass and Steve Reich.
How did you get started filming in Hayao Miyazaki?
Isao Takahata, producer of Nausicaä of the Wind Valley, you have chosen me. Mr Takahata was well versed in classical music, and also the great film director Hayao Miyazaki was honored with.
When installing Miyazaki movies, what is the process? Do you come up with music after reading the script? Or do you start scoring when you see the finished footage?
Usually, when I'm working on a movie, I read the text carefully before applying the composition. In animated films, there is no script, so I read the storyboard. I write music for a movie with perfectly balanced hair, about time. In any case, I carefully calculated the type of music to be used for each lesson.
Are you working on the score for Miyazaki's new film? If so, did you notice anything? What did you think?
No comment on that.
I know in the film, some directors use temp points before the composer develops the original music. Does Miyazaki work this way with you?
Miyazaki never uses the template. But sometimes he explains it in words.
Is your approach or process different when you create solo music?
Films already have text and video composing. On the other hand, when it comes to solo music, the process is completely different about thinking all about myself (theme / theme).
What was the process like working with Kitano and shooting his films? Do you give her an idea of what she wants or do you bring her sample music for her response?
I read the script and (watch) the video (footage) carefully, and try to inform the director's policy as much as possible. In the process, important themes will be listened to as indicated by the director.
Is there a secret to writing good music? Do you have any tips for any young songs?
Think about it all the time.
Of all your songs, is there anything you like?
There is nothing, for the most part, the best. But I don't look back.
Dream Songs: Essaential Joe Hisaishi will be released on February 21st.
