Cowboy bebop series subscene english11/9/2022 ![]() The whole digital environment made that a challenge this time. If I wanted to express “the sea,” I would go to the sea, dive in and feel the waves and the overall atmosphere. In coming up with music, I usually get inspiration from smells, or tastes, or feelings, and not necessarily from audiovisual stimuli. Was your creative process affected by the pandemic, as well? What turned out to be a benefit to the show was that musicians who would otherwise be too busy to attend the scoring sessions were able to because all their other gigs were gone due to the pandemic. So I ended up doing recording sessions in Japan, where I could attend and actually see the whole thing. If I’m playing something and I don’t get live feedback, my motivation drops really sharply. I did try a couple of remote recording sessions, but inevitably, the time lag, even if it’s just a split second, would just be unbearable. But since the pandemic happened, I had to rethink my approach. What would’ve happened is I would fly to L.A. Spike has that personality, as well: “Don’t think, feel.”ĭid Covid precautions impact your recording sessions? I would run through it, not thinking too much, just kind of “in the zone.” Not too much good stuff comes out if you’re overthinking things. That sort of intense, time-sensitive environment was similar to when I was doing the anime. It was a really hard sprint, so I didn’t have the luxury to take time and go back to think about what the music was. We’d have to finish the score for one episode in two weeks. Since the recording started in April, it was a really tight time frame. Once I saw the actual footage, those ideas went away and I started all over again. During the time in between, I would kind of imagine what the music would be like and gestate those ideas. Then the first time I actually saw the visuals that were shot was around April this year. But in the live-action, we actually had to look at the material and spot where to put the music in. I’d heard that was the kind of approach that Ennio Morricone used back when he was working on western movies. So what I did was just create all these pieces of music, and then the director and creative team would piece it together and put it into the anime. In the anime version, I didn’t really get any direction from Mr. How would you compare working on the new show to your experience back then? Since the original anime series was from 20 years ago, that they would be making this live-action version now - I was surprised at the courage they had. What was your reaction when you were approached to score the new series? These are edited excerpts from the conversation. On a video call from Tokyo, with the assistance of her translator, Kanehira Mitani, Kanno talked about reuniting with her band, Seatbelts, to rerecord tracks from the original series, and about engaging all five senses in order to create an interstellar soundscape. ![]() Still, the decision to return to orbit with the Bebop gang was easy, she explained: “I’m a die-hard fan of the show.” ![]()
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