Composer · Yuki Kajiura talks about how to relate to the work and how to compose it

"Magical Girl Madoka ☆ Magica"Sky boundary"Fate / ZeroIn works such asPuppetIn addition, the music unit "KalafinaThe composer / music producer who also produces "Yuki Kajiura, "Digital Creator Seminar" talking about relationships with work that I was in charge and how to work,Machi ★ Asobi vol.11It was held in.

Digital Creator Seminar Kajiura Yuki - Machi ★ Assortment vol.11 2013.09.28 ~ 10.14
http://www.machiasobi.com/events/dezikurikouza.html


Machi ★ Asobi will enter the fourth year at this eleventh time, but Yuki Kajiura celebrated the 20th anniversary this year from the major debut. Mr. Yuuma Takahashi of Aniplex was in charge of the seminar and Mr. Kondo Hikaru of Euphor table as a talk guest was present and accompanied. In addition, the remarks in the article are not summarized as they are, but are summarized parts. Also, in order to know what kind of song has been made, I attach a link to the URL which can listen to on Amazon.co.jp as much as possible.

◆Debut ~ Until encountering work of animation

Aniplex Yuuma Takahashi (hereinafter referred to as Takahashi):
Yuki Kajiura was debuted as "See-Saw" in 1993, this year is the 20th anniversary of his debut.

Yuki Kajiura (Kajiura):
To say 20 years is long, but in retrospect it really felt faster.

Takahashi:
And now, as BGM debut song "SwimmerWe are flowing.

Kajiura
It is the one that completed the song written for the band for the first time in the amateur era. It is very nostalgic.

Takahashi:
And Mr. Kajiura will be producing a movie theater (BGM of the work) concurrently with artist activities as "See-Saw". By the way, everyone in the venue, do you know what works Kajiura created for the first time in the animation movie theater? That work is a movie "New Kimagure Orange ☆ Load(Published in 1996).

Amazon.co.jp: New Kimagure Orange ☆ Lord - And that Summer's Beginning - Original · Soundtrack: Music
http://www.amazon.co.jp/dp/B00005H0PI/


Kajiura
Actually, there were various flows before meeting the work of "New Kimagure Orange ☆ Lord", at that time, in 1994, it was border to join the compilation album of "interior music style / Afternoon Tea I" is. It was the first time I was born at that time I made three instruments. And, by chance happening to that songIchikawa SemiconductorDirector was heard, and at that edge, director Ichikawa's movie "Tokyo brother and sisterI was in charge of the drama accompaniment of the. This is my first job as a drama.

Amazon.co.jp: Afternoon Tea - Interior · Music · Style: Music
http://www.amazon.co.jp/dp/B00005EJI1/


Takahashi:
It was not animation, live-action movie was the first movie-draft production.

Kajiura
That's right. And from the person who took a look at "Tokyo Brothers and Sisters" I was asked "Do you want to bring a cartoon of anime?" And received a request for "New Kimagure Orange ☆ Road".

Euphor table Kondo Hikari Producer (Kondo):
This is"Madoka ☆ MagicaIt is connected up to it. It is deep emotion.

Takahashi:
In Kajiura-san, what are the differences between the production of songs (songs) and the production of movie theaters in terms of creative approaches?

Kajiura
The theme song is closer to the character, and the theater is closer to the world, so it is quite different within myself. Both of them are something like reading impressions in myself, for example, if it is an original work, it is shaping what will come floating by reading that manga or novel, but the theme song is a character's existence There are many things to focus on feelings, consistency with the whole world of the movie becomes important. Of course, the theme song also links feeling with the whole work world is important, but it is ideal that the theater participants are closer, rather completely mixed. No matter how good a song you write, it does not make sense if you do not have consistency with the view of the world of the work, so I think so much about it. At the time of making a movie theater, we often make data while watching the data of the background picture of the work.

◆About "Theater version" Sky boundary "

Takahashi:
As I mentioned earlier, there was a story about the movie theater and the work, but Mr. KondoMatching the world view of "Theater version" Sky boundary "and Mr. Kajiura's soundHow was it?

Kondo:
When I first met with Mr. Kajiura-san, he made a so-called sketchy "boundary suite of sky", and when I heard it was "I think I can go," I thought. It is about 15 minutes and what kind of music is coming out for this work is stuffed in and it is often that something that picked up pieces and enlarged or shrunk is the soundtrack of this main part. At the stage of suite, the main theme song of "sky boundary" already existed.


Takahashi:
Was the "sky boundary suite" out of the Kajiura-san?

Kajiura
Regarding "boundary of the sky", I thought that "compatibility is good" from when I was reading a novel. There is rhythm in the sentence, and although the rhythm does not fit even with a good book, I liked the original rhythmic feeling. While I was reading it, the main theme came up, so I stopped reading "I did it, I made it" and made it. I guess it was not decided at this point whether or not to play music, but I thought that "I do not want to desire, but I want to do music of this work", and if I give out music at the meeting, "I do not want it" I would not say it (laugh)

(LOL laugh at the venue)

Takahashi:
Indeed, with it (laugh). How can we make progressive production concretely?

Kajiura
First of all, since I want to know the flow of the whole work, I read a script for a screenplay or an original if it is an original, and grab the whole tension. Tension is not "fun" or "sad", but the height of the waves of emotion, it depends entirely on the work. I start with something about how the emotions of everyone will rise, where I am going to get to know the peak where I am, and decide the emotions according to it, ... and so on.

Kondo:
I think it will be told by Mr. Kajiura afterwards, but "the boundary of the sky" was said to have been "the hardest job in the past 10 years" after the end. I have decided that I think that kore is a compliment (laugh)

Takahashi:
I see (laugh). So, Mr. Kajiura, how was it to create the sound of the "sky boundary"?

Kajiura
It was serious (laugh). But it was not a painful hardship, it was a hard but it was a fun work.

In terms of production, "the boundary of the sky" was bigger than the movie version. In the TV series I think that catchy things must flow once every thirty minutes, but the "boundary of the sky" is a dark worldview, and in addition, from a minimum of at least 1 hour to a long one it is a length of over 2 hours. Watching at a movie theater will be trapped in the world for a certain amount of time, so music also has to keep waves down. In the television series I think that the song was completely different, but since it is confined in the world and CM does not enter, extreme, the first 20 minutes is fine even if it is like a noise, as long as the melody comes later properly It is possible to establish it. While watching Container Shoot, I interacted with Director and Mr. Kondo in various ways.

Kondo:
I will talk with each other at meetings, but not just that, I will watch a movie of a container shot or a layout shot from the beginning from the beginning. While watching, I had my movie interacted through the whole story while stopping or returning the movie, like "Let's do this in music" or "Let's go with this song here".

Kajiura
Mr. Kondo is a powerful one, for example, "When I made a song I made a long lingering finish, but how about this?", I will reply soon at 4 or 5 am in the morning.

Kondo:
In the seventh chapter, the mail exchange with Mr. Kajiura did not finish all the way to the dawn, and the office person said "Do not you manage?" (Laugh)

Kajiura
I am using a multicast e-mail and usually I am only watching the people around in my mouth, but when I do it for 4 hours 5 hours, it's about time ... (laugh)

Takahashi:
Was the sound making made for each chapter including meetings?

Kajiura
Well, the color of the "boundary of the sky" is different for each chapter, basically it is made feminine, for example, the fifth chapter is to make masculine Like I thought about various things in each chapter.

Kondo:
Also, as for the entire work, I talked with Mr. Kajiura well whether to use SE (sound effect) or music. Because Mr. Kajiura makes a good sound, I asked Mr. Kajiura what I would like to ask the effect originally.

Kajiura
With regard to the music that is required for SE, I thought that the melody line should not stand so much, so I decided not to use anything else where I needed it, and I used a variety of different types of noise, SE without melody. The point is sound pressure. There is just a piano melody There is noise in the back There is a difference in how to hear it, if you put a piano melody on the noise, or you get lonely when you take out the noise ...... Even if the strings are playing the same sound, By increasing it it gets hot and it gets hot.

As a whole, there is no other work using noise so much, but there are noises for each chapter in myself, and those who have seen it several times have heard a sound, "This How many chapters are there? "I think that you are caught in your head as much as you can understand.

◆About "Kalafina"

Takahashi:
Next I would like to enter the story of "Kalafina". At the beginning of the launch, what kind of projects did you want to think about?

Kajiura
As a request, "I'd like to ask you to create a thematic song at the boundary of the sky", for example, there was an idea like "I brought seven new female singers and let them sing one song at a time" As a matter of fact, nothing was decided. So I said "I am a good son" says a selfish (laugh), I will audition and I will have three people singing now.

Kondo:
There were various ideas at the start, and celebrities who can not name are crowded here. But when I thought about what is serious about the original, I made Kalafina by saying, "It is best to have Mr. Kajiura make the unit suitable for the original work."


Takahashi:
Although there are seven chapters and each song is different, was not it hard to make each lyrics and songs?

Kajiura
On the contrary, I think that the same theme song was hard to do throughout the whole chapter. I wrote a different theme song for each chapter, so it was good because the lyrics were able to think about the story of each chapter and the relevance between the story and the theater accompaniment of each chapter. I was worried if I was told that it was the same song.

Takahashi:
For example, "sprinter" in Chapter 5 was felt strongly related to Hojo.

Kajiura
There is one way of feeling, some people feel that tune is associated with a different character. Although the creation is said to be like a reading impression, since the person who sees the work is not only a fixed character fans, it is too narrow if you put it for one person's character.Allelujah, the theme song of "Empty boundary future gospel"Whose hand is "small hand of you" appearing on? Although I heard that it is, I am conscious of the level that I can imagine that I can image as if I do not narrow too much specifically so that I can feel the feeling of 20 others.

◆Make sound of Yuuki Kajiura

Takahashi:
I am sorry to have a slightly frank question, but is there a moment when I work as "Wow" or "Yaa"?

Kajiura
Oh! It is often that it will be (laugh). When I start making it, it becomes plenty "I do not want to do anything else" state, it will become a tense tension. At the workplace, I make it with a picture of age, laughing, crying or shouting, in such a form that I can not show to other people absolutely. However, since a calm part also becomes necessary, I will definitely listen to what I have been doing in a cool state when I woke up asleep. As for songs made at the time of Age age, it may be embarrassing like a love letter written in the middle of the night, so I'm trying to remake it while saying "you were stupid, you" (lol).

Takahashi:
How about turning off or switching on and off?

Kajiura
Basically I do not change my mood, I do not need it. I think that I have to go to bed, so if I think I did work to the limit I go to bed for about 2 hours.

Takahashi:
A person who wants to become Kajiura-san among those who are listening to the seminar now is a job other than sleeping for two hours (laugh).

Kajiura
It may not sound like a strange person to say that I do not need a change of my mood, but it may sound like a strange person, but simply because my work stress does not end, I will not lose it, so "What will happen when I change my feeling for two hours? It's just that. Therefore, I do not feel the need to change my mood.

Kondo:
I'm with you. Even if you go for fun even if you are not over, do not you?

Kajiura
People who work do reduce stress. It's definitely going on.

Kondo:
I am the same, so I am going to work one after another.

Kajiura
Perhaps, I think that I am about the same as Mr. Kondo, but (laugh)

◆About "Magical girl Madoka ☆ Magica"


Takahashi:
"Magical girl Madoka ☆ Magica" is a work by Director Akiyuki Shinbun "Portrait of CosetteIt was a drama production since then, what kind of request was there?

Kajiura
I got a character design and a plot at the first meeting and the picture I saw was very pretty, so I thought if I could do bright music as a magical girl's "Kiratsu", then! "It's okay, because it is perfect for Mr. Kajiura" Following, what does that mean? It was the start (laugh). After that, while listening to the explanation and intention of the work, I read the plot, understand the words, the screenplay of the completed version is even more amazing, "It's for me surely ..." (laugh).

Takahashi:
What was the actual work like?

Kajiura
As a whole it was quite easy to write. Madoka 's script is really funny, it is easy to understand where the mountain is, where it is falling, and it seemed like I grabbed the tension I mentioned earlier. Also, it was great to have a music menu in line with the script. Because there are many stories in the TV series, there are few things to write with the scene, so sometimes it is made to receive an order such as "3 songs, 3 songs of fun, 4 songs to be excited" However, Madoka ☆ Magica is not rare as a television, because he told the scene to be used concretely, "This song is imagining this scene", Magical ☆ Magika, writing (writing a song for each scene) I was able to make it like.

Takahashi:
As a creative approach, what kind of things were imagined?

Kajiura
"Madoka ☆ Magica" is perfectly a girl's world, everything that is suffering and fighting is all a girl, in a sense a closed space. Characters are young children rather than girls of junior high school first graders, and their principals are also closed, there are also deep portions by the narrow view. So, let 's make music feeling also to them, making it by not thinking of sadness that we got hit by narrow gaze, not sadness that we are seeing while watching a movie.

Kondo:
It is amazing because the sound is heard as Mr. Kajiura thought.

Kajiura
It was fresh for the first time to write what I did "girl girl" over there. Although saying, although the image which I see with the PV etc. which was made close by the broadcasting was intense, it was thrilling until the completion of the main part whether the movie accompaniment properly intermixed with the picture.

◆To make music work

Kondo:
Does Mr. Kajiura prepare before music consultation?

Kajiura
While watching the scripts and pictures that I got in advance, I have planned to a certain extent in the meeting and after I planned, I will proceed as it is if I agree with my own idea, I will adopt that opinion if I do not. But, here the sound is not yet sounded. It is dangerous to make it without grasping the overall flow, so I try not to make it.

Takahashi:
I am sorry to hear your question in a very rough situation, but is there something in trouble if you do not ring?

Kajiura
Basically I do not have trouble with melody. However, if it is a good melody, there are times when something useless may come out and it may be soaked in, so I will keep it "to a certain extent" as I have to control myself. While we can not plan the entire flow by ourselves, if we inflate the image of only individual scenes, this scene is determined to be kore and the correction does not work when we review the whole. It is like getting possessed.

Kondo:
Is it possible to judge that modification by Mr. Kajiura himself / herself?

Kajiura
Basically I have judged it because I have decided not to give me bad things. There is a word "I know it" in the world, but I think that every expressionist must "know". When a composer composes a song, when a singer sings, the expressionist has to know how it will affect the hearts of the people heard. That is objectivity. I think that you do not have to know how it affects this song when it matches this scene, not Don Pissha. However, there are things that can be made only when you runaway in composition, so it is not good unless you do things like drawing subjectivity as it is, making a review by reviewing about 3 steps after making it.

Takahashi:
There are both subjectivity and objectivity. By the way, did Mr. Kajiura study from making amateurs, including from the amateur era?

Kajiura
I have not done anything particularly. In the beginning, my father liked singing songs and opera, so it was the original experience that touched the music that was being accompanied from around childhood. Then, it seemed that piano and songs were wonderful, and I began to sing. While singing existing songs, I started singing my own thing about the second grade of elementary school. At this time, I did not write the score etc, just singing what I thought.

After that, of course I studied in the meaning of accumulating knowledge, but I did not do anything like "composition law". So, the range of music is narrow (laugh).

Takahashi:
I thought that it was lovely when I was a child, but what I liked was used as a job now, but there is something called "the theory that does what I like to work as a job" in the world. Mr. Kajiura who likes what she likes, what do you think of that "do not do"?

Kajiura
There are things that change when you like love, but I think that the basic is ant. There are lots of things you can do, the range has expanded and I like it more. There are lots of things I lost, but it can not be helped even if I say Gudaguda (laugh).

However, I did not intend to work music until I was 20 years old, and I did not want to do it. I thought that I like music itself, I thought that I would make a song for the rest of my life, but my parents brothers and relatives worked as a company, so I thought it was natural that I became a company employee myself. I also enjoyed the work of the company. But since I was a student for the first time, I also enjoyed it, so I had fun, but I want to do both work and music, but I do not have time, I live a sleeping life and I am chased away and I choose either I only picked up music when I was gone.

Kondo:
When was it that you thought that you could continue as a job in the world of animation?

Kajiura
I always faced with my own professionalism, but I strongly thought that "NOIRAbout the time you let me do it. I used to like majestic world view of opera etc from long ago, but I did not need such music until I did animation, so I thought that I should not make such a thing. It is said that the magnificent view of the world is just listening and enjoying it, it does not become a business. That made me do a couple of animation's drama, and around "NOIR" I felt strongly that "I can do what I want to do here!" "You can make something more exaggerated than ordinary sounds or J-POP-like sounds!" "Let's make it exaggerated Jagian, cymbal is Burn, and trumpet is Papa, making such music There was a good field! "" It's fun! "

Amazon.co.jp: Noir - Original Soundtrack: Music
http://www.amazon.co.jp/dp/B00005L9AE/


Amazon.co.jp: Noir - Original Soundtrack II: Music
http://www.amazon.co.jp/dp/B00005NS9H/


Kondo:
The field has expanded.

Kajiura
I feel that I found a field that can make use of myself rather than being spread. However, because I knew that my musical range was narrow, my anime music work was a lot of fun but I'm sure I will get bored easily, I thought that it would be about three if I got a job. In the same way, "NOIR" hit and there will be some more work, so I decided to do whatever I wanted in the meantime, "Do not refuse my work I came, it's fun and fun!" If you were doing your best, if you notice, I was allowed to continue until now.

Kondo:
How about comparing busyness with now?

Kajiura
I am busier now (lol)

Takahashi:
After feeling that it can be continued with "NOIR", was there something like a turning point?

Kajiura
"Xenosaga IIIs it the first time I wrote the score of a large string of strings when I did the job of saying "Game". Many people who make a drama come from the music university, many of whom are from the university, it is natural to write a full-size score, but since I first thought that "I'm about 3 jobs", when using stringed instruments Many trio scores (violin and viola and cello) were there, and they did not handle it seriously. But when I became "I wonder if I could get a job like this?", I thought that I had to study bigger strings, bought the score and started my studies and research. I felt like I could go up one step when the song was made.

Amazon.co.jp: Xenosaga II - Higan shin of good and evil - MOVIE SCENE SOUNDTRACK: Music
http://www.amazon.co.jp/dp/B00024Z6HG/


◆About "Fate / Zero"


Takahashi:
"Fate / Zero" was a job with ufotable following the "sky boundary". How was the movie production involved?

Kajiura
Well, it burned. Heroes and medieval-like people die like one after another, and the scale of the talk is big, and additionally the old man heaven is the best! There is a scene called "Wa Aaaa" when the army of the king comes out, and it is a work inspired by the venerable medieval fantasy atmosphere, brave music, all you can write. I thought that I could write music in these works once or twice in my life.

Kondo:
Since I knew that Mr. Kajiura is a person who can write music of such work including stacking on the "sky boundary" and music in other works, please talk to Iwakami Producer of Aniplex and make a request by all means It was decided. Moreover, in the case of "Fate / Zero", despite being a television, there are things such as making everything with a picture in the second half, stacking in the "sky boundary" is living in various forms.

Kajiura
However, in the case of a picture, you can not make songs without a picture to some extent in advance, so you can not do it unless you work at a reasonably early stage. Ufotable 's hard work was great.

Kondo:
Mr. Kajiura responds to it, because it is trust or just that, so it was a story to try as much as possible. For example, when a lot of people are going to disappear more often, it is like Kajiura's songs are in a picture, and it's best to synchronize video and sound perfectly.

Kajiura
The scenes and the shocking scenes that you scatter in the 2nd season are almost a picture, and already the voice actors have done dubbing already and I was able to make the songs according to the video with the dialogue, so I caught it There are many songs that I made.

Kondo:
Though there were times when I had a different conversation from the meeting, it was fresh that I was approaching "How about this?", I was very thankful.

Takahashi:
Personally, the rider versus Archer game of episode 23 is remarkably impressive, including music.

Kajiura
That song that I take when the rider plunges in, I thought "I did it !!" when I was able to do it. I thought that Atsuo Otsuka's "A la la la la la la la !!" play was wonderful and thought that "I can not write what is amazing here!" I really burned. It was a fight among me.

Takahashi:
Unlike making a drama accompanying a menu, what sort of approach will you make a drama accompanied by a picture?

Kajiura
The tension of the scene is decided within myself, and music and dialogue start to make it because it is this kind of tension, after flowing it is flowing. "If it comes from here it would be a piano" or "This person's voice would be cello". However, even though I thought that it would be nice, I would change it if it suffered with serifs. The important thing is to mix with the work.

◆About "Empty boundary future gospel"


Takahashi:
And the last theme is "Theatrical Edition" Sky Boundary "Future Gospel" of the Opinions published (event time). On the release date on September 28, there was screening at midnight such as "0 o'clock, 2 o'clock, 5 o'clock," as it was the fastest screening, but rumors that Mr. Kajiura was watched on the first night midnight ... ....

Kajiura
Yes, I saw it at Theater Shinjuku! I skimpy watching all the sky boundaries from one chapter to the last chapter, and I usually buy tickets. I want to see it the same way as the fans are watching.

Kondo:
Are you in that heavy crowd?

Kajiura
Yes, I reserve seats with online reservation (laugh). I went to the fastest screening because the "Future Gospel" could not go to preliminary preliminary screening due to work circumstances, but I usually go to the time when I began to empty.

Takahashi:
Until the final chapter and "Future Gospel", was there any difference in the production of theater?

Kajiura
It was completely different. Among the two of the future visitors appearing in the "future gospel", Seo Seiyone was a different type from the character so far, so in the scene where she is, the sound of warmth continues and another watchful future Melca, as he is a "sky boundary" -like character so far, the scene from which Melca comes up is a sharp contrast in the work such as a sound like a kungdish image flowed with the dawn and feeling nostalgic I made it.
Overall, including the title "Future Gospel", while also conscious of the brightness and happiness that wraps the work, the theme songs are the same, but I want to see what the viewer is looking for, it is saved saved properly I thought that I wanted to make music "cuddle up" rather than exaggeration.

Takahashi:
Mr. Kondo, how was the meeting with the theater involved?

Kondo:
As Director Sudo-kun was a painter, it was a story that sound was not good, so Mr. Kajiura and I talked about it and pulled up what is in Sudo-kun. Anyway, please talk with Mr. Kajiura, and encouraged him to proceed.

Kajiura
As I was making a meeting, what I would not have thought to say by the director came out and it became a hint. There is something more easy to understand than "Please make this kind of music" rather than "I made a picture like this". If you leave it to the musician what kind of music you can put on, it is ok, and if you know what you made with it, it might be useful for judging whether you are going to raise tension or sorrow. Music consultation is not necessary because you do not need professional knowledge, so you do not have to think hard, it's okay.

Kondo:
It may be rude way of speaking, but Mr. Kajiura has a good intuition. "What do you understand why you asked me !?"

Takahashi:
How was it when you saw the completed work?

Kajiura
It was a wonderful work. As I have been doing so far, I will be touched again by the beauty of the video created by ufotable and the fun of the directing, and after I finish watching the movie, I can feel like "Let's work hard toward the future" It was a really good act. It is my impression that I'm happy that I am happy.

Takahashi:
What kind of image was made for the songs "dolce" and "allelujah" that flowed in?

Kajiura
When "Allelujah" saw it through the video for the first time, the sound was flowing into my head. It's hard to keep up with writing it on the score, it's a song made at the same pace as the song's scale. There is nothing quite possible to do in such a way, but I felt that I could do something that I could make as an ending in myself.

Kondo:
I brought the theme song "I made it" to the meeting of the "future gospel", did not it?

Takahashi:
This flow, it seems like there was the same thing (laugh)

Kondo:
After listening to Mr. Sudo, I said "Thank you very much" as a nice guy, it was OK with one shot.

Kajiura
In myself, it was a song called "This was good!", So it was nice as I was excited to think that it was very hard to erase this impression in case it was no good.

Kondo:
By the way, it is a studio that said Kajiura-san "Please fix the music" when it is "boundary of the sky (chapter 1 ~ end chapter)" and "Fate / Zero" (laugh).

Kajiura
There was such a thing (laugh).

Takahashi:
How about "dolce" flowing in "extra chorus"?

Kajiura
The scene just before the song runs is "I'm sorry, it is sweet" It is a scene that makes me happy like a happy condition that I am looking at, but it is that two people who end in a happy scene It is very important for me, so I thought of making it a happy song anyway. Actually I wanted to make it longer, but for convenience, with 3 minutes.

Kondo:
Because the composition of the work flows "extra chorus" first, it could not be made long. But we also made it after understanding the expression and Mikiya so it was perfect including the theme song.

Takahashi:
Well, I've been talking about various stories, but time has approached soon. May I only take one word at the end?

Kajiura
Kajiura Yuki As an individual, I participated for the first time in Machi ★ Asobi and I enjoyed it very much. I like the job of making anime music anyway, I would like to do 10, 20 or 30 books. I am very happy to be excited when I meet with new works. I am happy that I will be happy if I can make music of various works from now on and be able to convey the excitement of excitement of that work to everyone. If you see the name "Kajiura Yuki" in the credit, I'd be happy if you think that "I write again" Oh.
Thank you for today!