What I feel has changed the most is that we are getting more responses from people overseas. With well over a decade of work in the anime industry, do you feel there have been significant changes along the way? How does your work today differ from when you first started your career? The world view, direction, and characters that he creates are all energetic, which motivates me to create music and I really enjoy working with him. We love your work on Kill la Kill and PROMARE! How was your experience collaborating with Studio Trigger?!Įvery time I work with director Imaishi, I am greatly inspired. I try to make sound choices and arrangements that are more emotional for the audience based on the various scenes. In the end, the director and sound director think about where the music will fit in and apply it. Music for TV animation is created before the animation is completed, so it is rarely created in conjunction with the movement of the video. Beyond the iconic “Sawano Drop,” what’s your secret to making these soundtracks work so well with the action on screen? You’ve created a lot of music for dramatic and intense series like Attack on Titan, Kingdom, and various Gundam projects. Personally, I don’t think there is much difference between producing music for animation and film. I started to value the production period as much as possible when working on new works after that. I had never worked for that long of a time before, but I found it really rewarding to concentrate on a single piece of work. When I was in charge of the music for Mobile Suit Gundam UC, I set aside four months to concentrate on the production. When you first started composing specifically for anime, what stood out to you about the process? What makes it different from working on projects in other industries? As for composers, Hans Zimmer, Danny Elfman, Ryuichi Sakamoto, etc. I listen to a lot of international pop rock and soundtracks, such as Aerosmith, OneRepublic, Imagine Dragons, and Fall Out Boy. What kind of music really motivates you, and do you have any favorite artists or groups? I’ve seen Ghibli films such as Princess Mononoke, Kiki’s Delivery Service and Whisper of the Heart, as well as works by Takeshi Kitano such as Sonatine. Were there any specific anime or film scores that moved you and made you want to become a composer yourself? By high school, I began listening to Joe Hisaishi’s music for Studio Ghibli, which made me more interested in the world of film music, and I began to focus on creating instrumental music. His work as an artist, producer, and video musician prompted me to want to become a composer. From then on I aspired to be a musician and began exploring music by Tetsuya Komuro. When I was a child I was first introduced to the music of Chage and Aska and was very impressed. You’ve created so many varied compositions for anime, games, and film over the years. Read on to learn more about how Sawano-san got his start, what inspired him to make the type of music for which he’s known, and more. With the recent digital release of a bunch of composer Hiroyuki Sawano’s amazing anime soundtracks-including a physical vinyl release for his music that fueled TRIGGER’s unforgettable PROMARE anime film-we got a chance to speak with the artist about what composing for anime is really like.
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