Interview with composer Satoru Kosaki, directing the reality of “go away, ultramarine” and the fluffy feeling that does not have a dream with music
September 6, 2019 (Friday) publishing movie '
This time, I had an opportunity to talk to Mr. Kosaki, so in addition to making music for this work, I asked him to dig deeper into what kind of person he was.
(Japanese) go away, ultramarine official website
http://inakunare-gunjo.com/
GIGAZINE:
I would like to visit from a distance from the work, but in the 2013 interview on the JASRAC official website ' Sound Artificial Studio 6th Kamimune Kaoru ', 'When I was in high school I entered the game center quite a bit “I'm listening to the game soundtrack with my friends because I think game music is good”. What kind of game soundtrack did you listen to at that time?
Satoru Kosaki:
It was around that time that Namco's “SYSTEM II” came out, so “ASSAULT” or “METAL HAWK”, Taito was “DARIUS II”, Sega was “Galaxy Force”. It was just the height of the arcade game, and it was fun because the sound source has evolved dramatically so that sampling can be used.
G:
Did you actually play all of the titles you just mentioned and like music? Or did you think that it was a good song after watching the game as a gallery?
Kosaki:
I play basically.
G:
Did you play games a lot?
Kosaki:
Yes. There were a lot of arcade games.
G:
Have you been playing anything without eating and disliked?
Kosaki:
There are good and bad points. I'm not good at fighting games ...
G:
(Laughs)
Kosaki:
That's right. The game wasn't good enough. There were a lot of shooting and puzzles.
G:
I was thinking 'Why Tetris?' Because it was written 'Sleep and Tetris' in the 'Special Skill' in my profile.
Kosaki:
I am good at it. Arcade Tetris can be infinite.
G:
(Laughs) Why is Tetris so good at it?
Kosaki:
I don't know why, but I was good at proportions.
G:
So, are you not really good at puzzle games, not just Tetris?
Kosaki:
I'm not good at Puyo Puyo.
G:
'Puyo Puyo' is not good! ?
Kosaki:
I can't read the chain. It seems like “Tetris brain” is in my head, and if I did Tetris to kill time, it would have improved.
G:
That's right. I would like to ask you about the circle “Yoshida Seisakusho” in Kyoto University, but in the interview I mentioned earlier, “I only had about 5 days a year in school classes. I've been there, but I've been addicted to the circle more and more from a couple of years. But why did you get so into music at that time?
Kosaki:
I don't know ... In the past, there was still a unit. Now that the university is getting tougher, I don't think I can graduate, but about 20 years ago there were many people like that. In particular, Kyoto University is often referred to as a “free academic style”. I started making music when I was in college, so everything I did was fresh and crazy.
G:
What kind of activities were you doing at that time?
Kosaki:
Since it was a composition circle, we made two songs, recorded them on a demo tape and released them, and played live several times a year. But I think the main was a drinking party.
G:
(Lol)
Kosaki:
Have regular meetings and then drink together until the morning to discuss music. It was fun to have such a salon-like exchange.
G:
How many members were active at that time?
Kosaki:
How long have you been? I have 4th year graduate students and 30 graduate students.
G:
Was it so much? It was a really big circle.
Kosaki:
Certainly.
G:
In the same JASRAC interview, “I originally thought that I was good at“ making it like XX ”, but there were many things like“ making a Buddha and not putting in my soul ””, What was the cause of the song being “Buddha and no soul”? And how did you overcome it?
Kosaki:
I often copied and made the superficial branch of the music, so I couldn't really understand what the roots of the music were and how it was delicious. . Does that mean that there was a lot of roots in each genre, and that wasn't fully understood? The listening method was shallow.
G:
Isn't listening too shallow a little amount of listening?
Kosaki:
No, I think it's basically a quantity, but I didn't understand the genre. It was good to imitate on the surface, so I could make a lot of music.
G:
Is 'a song without a soul' created by you, 'Ah, no soul ...'
Kosaki:
I was going to do it myself, but when I listened to the songs of those who like techno and those who love rock music, I thought, “This is a fake. I ca n’t win.” I began to deepen listening from there.
G:
I see. That is the image. As a composition method, “When creating a melody, at the very first stage, keep the IC recorder running and play on the piano, stop recording and listen to it when you think“ Oh, that ’s good ” It is a feeling that it will continue to inflate based on that, 'said 2013 that he was using the voice memo of this iPhone, but now the iPhone is IC Are you using it instead of a recorder?
Kosaki:
I didn't do it with a voice memo. Now I keep playing the sequencer and playing it on the keyboard and singing rhino songs, but basically I feel like playing it.
G:
What do you think you should do after playing?
Kosaki:
I agree. If there is a good phrase in pieces, how to make sure it is inflated, how to make a song over time. It hasn't changed since long ago.
G:
I interviewed various composers so far, but I felt that there were two types: those who made it as they thought, and those who made the type that we knew as we just mentioned. Do you know a song made by a composer whose melody comes to mind from the perspective of the type of person you are working on?
Kosaki:
There are parts where I think the idea is shining.
G:
What is your idea?
Kosaki:
What do you say ... When you are composing, there is something that is technically classic, and you can do it to some degree skillfully, but it is simple, such as sound movement that does not come out There is something like an idea coming up. Basically, I think that professional works always have one such part in one song. Without it, it ’s the same as other songs. However, I think that those who have great “brightness” are amazing.
G:
When you work on a song, do you have an image that approaches that kind of thing?
Kosaki:
That's true for me. It seems like you're doing the same thing in parallel, rounding off the uncomfortable part and adding ideas to boring things.
G:
How did you first get into the movie “Niseiru, Ultramarine”?
Kosaki:
Director
A pessimist who wants a peaceful life on the staircase island of the abandoned people, Nanakusa (act: Yokohama meteor )
G:
What specific instructions were given for the order from the director?
Kosaki:
Since it is a movie, “I'm going to add a song to this scene” was instructed by the head of the video. In particular, there was a reference song called “With this kind of song”, and on the other hand, there was a saying, “Let me leave this here, and give me a good idea”. There are many. The work is basically fantasy. However, since it is drawn from the original whether it is a mystery, a fantasy, a reality or a dream, it is a way of drawing that is not clear, so the fluffy response is inherited in the video, and that is also the music Was n’t it? I tried to explain too much and not solve it too much.
Childhood friend Yuu Mamabe (act:
G:
What is the genre of the song that was playing in BGM?
Kosaki:
I wonder what is the mainstream of recent visual music. Is it a fool? There is a genre called post-classical, and there is a genre of music with a very high degree of abstraction that is derived from minimalism and has a well-mixed post-rock acoustic approach and classical classical sound. The affinity of is good. I thought that it was compatible with the video of “go away, ultramarine”, so I wanted to do it.
G:
When it is released in the theater, such as “go away, ultramarine” or “Launch fireworks, see from the bottom or from the side?” Do you compose music?
Kosaki:
I don't really think about it, but when mixing down, I'm going to put the bass into the subwoofer and make sure it's powerful, and check the balance with the lines. There are places where you have to make lines, and accidents will occur if you do not assume the balance with sound effects properly (laugh)
G:
I see (laughs) Is adjusting the subwoofer bass an image of strengthening the bass?
Kosaki:
Rather than strengthen, make it clear. For example, the sound of a contrabass is a range that can be put into a subwoofer, but if you do it, it will become too dominant and it will be pressure and pressure rather than a bass as a music, so you can not enter it . It means that you are conscious of the control whether to use or not. Open it for the effect.
G:
Isn't it really considered? I was wondering how much the sound effects in the theater were considered.
Kosaki:
Theatrical movies are not particularly loud. Half of the work is for mixers and sound directors.
G:
The story changes, but
Kosaki:
I get tired of doing the same thing. When I lost my inspiration, I wanted to be inspired to make things, “I want to do that, I want to do this” and “I want to do that,” so I really loved game music and it was fun to make, After all, it is anime music, or it's a simple idea to jump out of anime and try out various live-action music like “go away, ultramarine”.
G:
Although various works are also handled in animation, I was interested in the same interview, touching on the music of the animation `` STAR DRIVER Kagayaki no Takuto '' and `` I was able to do magnificent music with robot animation '' It ’s memorable. ” Personally, I was touched by the composer, Shingo Kamimae's anime drama with 'The Melancholy of Haruhi Suzumiya ' etc., but on the Blu-ray menu screen of 'STAR DRIVER Kagayaki no Takuto' It was impressive that “Ginga Youth” songs were playing all the time, and for the first time I was strongly aware of Mr. Kamimae, “Who made this song?”. This image, Haruhi, and this time's “Iinarena, Ultramarine” have different images. Why can you make songs of such various genres?
Kosaki:
Because it's work (laughs) I originally didn't have roots, as I said earlier, but I want to do that, I want to do this, so I'm a person who comes in from the style, so I guarantee the quality in that It ’s like you ’re expanding the width. I was learning orchestration technically, and I can't play the guitar, so I have a hard time, but I want to respond when various orders come, I will present various ideas from here, just secure only the quality I feel like it ’s spreading a little each time.
G:
I see. In the flow of the topic of “STAR DRIVER Kagayaki no Takuto” earlier, “I made a full-fledged team with Takada, Hokkoku, Ishibuchi for the first time and took the form of proceeding with total direction. You said, “I felt a good response”, but what is the specific work of “directing in total” here?
Kosaki:
First of all, the direction of the song is presented to the artist in charge, and I play a demo. If you have four writers, your preferences will be different and your ideas will also be scattered. Ne
G:
When assigning a direction, you may be asking 'Who should you assign?' How is it judged?
Kosaki:
It is an iron rule to assign the genre that the writer is good at and the ability to make the best use of each person. After that, ask them to do as much as they can. “I am good” and “I want to do it” are strong. If there are two of them.
G:
After graduating from university, I joined Namco as a sound creator, but an interview posted on Steinberg's official website says, “When I first thought about finding a job, I thought vaguely that I wanted to work on music, a music manufacturer, a record company, a game I focused on job hunting in three of the companies. ' I understand that record companies and game companies are an extension of composition, but why was the instrument manufacturer one of the choices?
Kosaki:
I went to an engineering department and specialized in information engineering, so I didn't expect to be a composer.
G:
Did n’t you think?
Kosaki:
I never thought. I thought I was going to be an engineer, but I was thinking of an electronic musical instrument manufacturer because it was a job close to music. In fact, a senior in information engineering who was in the same band as me went to a major manufacturer to develop musical instruments.
G:
So when you were looking for a job, you said, “Work related to music.”
Kosaki:
Basically, that side was the main.
G:
I was looking at Mr. Kamimae who became a composer, so if I was thinking that it was the direction of “profession where I can make songs,” that was not the case. Jinmae's profile says “Hobbies are cooking, liquor, driving”, and the first hobby is cooking, but what kind of cooking do you make?
Kosaki:
There are a lot of French and Italian.
G:
That ’s true. Can most dishes be cooked by themselves?
Kosaki:
No, everyday cooking is hard and it becomes event cooking. I can't eat roast or oven food every day (laughs), so I make it myself at drinking parties and parties. After that, I make dishes as a change of mind.
G:
When did the food change your mind?
Kosaki:
When I was a student, I was poor and I cooked myself.
G:
I see. Does that mean that extension?
Kosaki:
I agree. After all, I like to eat delicious food, so how it works is the same as music. I feel that the curiosity of music, “How does it sound so comfortably?” And “How can it be assembled so deliciously?” Is connected. I think both will lead to pleasure.
G:
I see. Is it rather gourmet?
Kosaki:
It may be so. It's a low-profile hobby (laughs)
G:
No (laughs) I understand that cooking and liquor are a set, but does another hobby “drive” have the same connection?
Kosaki:
I like driving as a means of transportation, and I like driving as a purpose. Driving is fun and makes you feel refreshed. You can't forget that you're worried about “changing your mood.” When you drive, don't you forget that?
G:
I see. So when you are cooking, are you immersed in cooking?
Kosaki:
I agree. But cooking is more like a hobby than an element of “change in mood”.
G:
A completely hobby world?
Kosaki:
Yes.
G:
You talked about creating and composing music earlier, but how do you overcome when you get stuck?
Kosaki:
It ’s liquor. Reset with alcohol and sleep.
G:
In the official Twitter question box, ask 'What do you do when you get stuck?' Try switching your mind by looking at the net or doing office work. I take a shower or go to the gym or take a shower. I sometimes cook or go for a drive, but I end up drinking alcohol and forget everything. '
As it says ...
I try to switch my mind by looking at the net or doing office work, but if I don't like it, I drink cold coffee, go to the gym or take a shower. I sometimes cook and go for a drive, but after all I drink alcohol and sleep and forget everything. #peing #Question Box https://t.co/e0Yn4Rzeas
— Satoshi Kamimae / Satori Kosaki (real name) (@MONACA_kosaki) November 8, 2018
Kosaki:
That is all.
G:
Is resetting with sleep an image of sleeping and “working hard the next day”?
Kosaki:
There is also that, and if you get stuck and become shortsighted, you may not be able to evaluate objectively. I listen to it for a long time because I listen to it for a long time because I listen to it for a long time. You will be able to understand the movement of the sound. (Laughter) You can see it with a calm eye like when you saw the 'Love Letter I wrote at midnight' the next morning (laughs). Isn't it the same in writing?
G:
Certainly (laughs) What do you feel when you listen to a song like a love letter written in the middle of the night the next day?
Kosaki:
I think 'Acha', but there is an inspiration that says 'This is good', or there is a part that has shine, and it's work that makes use of it and erases the unpleasant part. This will take some time.
G:
In the previous tweet, one of the options was “Drink a cold coat, go to the gym, or take a shower”.
Kosaki:
That's what I do on a daily basis. It ’s literally like resetting with iced coffee.
G:
Did you have any specific reason to start drinking coffee? I like it if I noticed it, or to change my mood.
Kosaki:
I don't smoke, so I feel a bit lonely and drink iced coffee. I can't say liquor during work. Also, the music industry always has a coffee server when you go to the studio. For that reason, I thought that “people who make music drink coffee.”
G:
That was the background. The direction of the question changes a little, but in 2017
Kosaki:
There is nothing in particular, but it doesn't work very well.
G:
Are there any “good” and “bad” arrangements?
Kosaki:
That's where I don't understand well, but professional arrangers who specialize in arrangements have tremendous skills such as 'how to build up sounds'. I was just composing and arranging myself, so I have no experience in improving other people's melodies, and I can't accept it as a job. If it was “Lucky Star”, I arranged the song by Satoshi Shiraishi. Rather, I haven't asked other people to arrange my songs, and the basic style is “make things together with composition and arrangement”.
G:
I see. Here is a question away from music, but there was a topic about music PCs on Twitter from Kamimae. It ’s a very high-spec machine, but when you say “I want to renew the hardware”, do you mean to go further?
There is no problem in terms of specs ([email protected], 64GB of memory, 10TB of SSD), but the mazabo and the power supply sometimes move disturbingly. Don't worry ...
— Jun Kamimae / Satori Kosaki (real name) (@MONACA_kosaki) May 29, 2019
Kosaki:
I think the motherboard was old and USB support was up to 3.0. After that, the version of PCI Express is old, and that is the bottleneck. Isn't the motherboard and power supply deteriorating? Sometimes it doesn't recognize the USB, so the voltage drops for a moment and the audio interface and iLok for authentication breaks for a moment, which can hinder your work. There is no problem with CPU power and memory, but ...
G:
So it ’s a new hardware.
Kosaki:
That's right. But the 5960X is also an old generation, so there is no latest motherboard. If……
G:
It might be better to make it from zero.
Kosaki:
That's right. It is a difficult place.
G:
This is also from Twitter, but when the screenshot of the work disk was released, the contents were amazing, but at the same time a large number of drives were connected after the E drive. What is this mountain-like drive used for?
Kosaki:
It is almost a sound source and library.
G:
Are you stuck to the machine and are you using 10TB?
Kosaki:
I agree.
G:
A little while ago it was 8TB but it was 10TB ...
Kosaki:
It will increase. Now, the sound source is becoming high resolution, for example, 32bit 96kHz is specified. Then the amount of data will be 3 times as much as 24bit / 48kHz, so I will take a wider work area and I will make the artist cry (laugh)
G:
Is the number of hire job requests increasing?
Kosaki:
Rather than increasing, it's basically “all high res”.
G:
Then, the file capacity will increase steadily ...
Kosaki:
I agree. But it ’s nice that the SSD has dropped so much. In music work, SSD has great benefits.
G:
I see. Also on a PC-related topic, I bought Adobe Acrobat and was tweeting, “Why didn't I put it so far”? Why are there so many opportunities to touch PDF files?
I bought Adobe Acrobat (a non-Reader editable guy) a while ago, but I could play with notes, chords, text, images, and handwriting as much as I could. I don't know why ...
— Satoshi Kamimae / Satori Kosaki (real name) (@MONACA_kosaki) April 23, 2019
Kosaki:
It's the management of music. For recording, you have to export the score from the music software, but if you want to modify it later, if you touch it with the music software, it will be rewritten, so you can move the notes a little on the PDF, There are quite a few handwritten scores, so I scan them and write some fonts from the top, or all work on PDF.
G:
Also on the official Twitter, “When you sing yourself, it ’s important. When you do n’t have it, when you make a song, it ’s too wide. ・ You ca n’t breathe. ・ I ca n’t use the same beat and stretch effectively. It ’s prone to problems like “no”. The fact that this tweet is concluded with 'with self-discipline ...' ...
The experience of singing by yourself is important, and if you do not have this, there are problems such as when you make a song melody, the range is too wide, you can not breathe, you can not use the same beat and stretch effectively, and it does not get excited in the first place It tends to happen.
— Satoshi Kamimae / Satori Kosaki (real name) (@MONACA_kosaki) May 8, 2019
With self-discipline ...
Kosaki:
(Laughs) I don't care if I'm ringing with a synthesizer. You do n’t need to breathe. With regard to the same-tone repeated hits, there are cases where words are reduced when the lyrics are put on and are not satisfactory. Also, if the human voice becomes a high sound, it will be stretched. “Pitching up” means “feeling up”, but when you're doing it with a synthesizer, you can listen to both high and low sounds calmly, so there is a difference in temperature.
G:
If you tweet this with self-discipline, I think that Mr. Kamimae has realized and overcome it. Where did you notice it?
Kosaki:
I actually sang and thought “Acha”. I tweeted a lot, but I wasn't singing so much, and I realized through the experience of recording the songs of various people.
G:
Mr. Kamimae has been recommended 'Blue Water' by touching the
My Heisei Anison Grand Prize is 'Blue Water'! https://t.co/F0IWI4QY1s
— Satoshi Kamimae / Satori Kosaki (real name) (@MONACA_kosaki) March 1, 2019
Nikosei: https://t.co/7io1rN7gzx
YoutubeLive: https://t.co/PhCax4A2XN https://t.co/F0IWI4QY1s #Heisei Anison Award
Kosaki:
I think that it was great to listen to it when I was feeling a lot, but it was “the comfort of syncing video and music”. It was shocking and directed by Hideaki Kanno. It is a masterpiece.
G:
I think there are many people who want to be composers like Mr. Kamimae, but Mr. Kamimae did not attend vocational schools or music colleges, and I think he has a lot of self-study.
Kosaki:
I agree.
G:
Do you have any advice for those who come later that you should be able to become a composer in this way, or study such a thing?
Kosaki:
There are times when I didn't come through, but there are times when it's better to hold down the basic harmony, the counterpoint method, and the classical part, and the rest is the performance of the instrument. It's called 'musical power' ...
G:
Music power?
Kosaki:
It's just a place where you can only say 'music power'. Playing musical instruments, listening to music and understanding with your ears, and knowing various music and understanding the points of music. There are no shortcuts, and I think it will eventually become a shortcut if you don't have to bother with it. I made a detour.
G:
Really?
Kosaki:
About five years ago, I also studied harmony with the teachers at Music University. The contents are usually what junior high school and high school students do, and I think it would have been better to do such things sooner.
G:
Was there a moment when you came to the composer and thought that you had to do the basics again?
Kosaki:
There was a sense of crisis and complex for not doing it. If you actually do it, it's just like `` I see, this kind of thing '', and what I did was if I was a music student before entering university, `` Basics of basics '' But I think there is something deeper ahead. However, touching the academic scent and saying 'I don't know at all' is quite different from 'I know what I'm doing'. I think that those who have done it also have the power to absorb. The rest is a musical instrument.
G:
Speaking of musical instruments?
Kosaki:
You can also sing, but if you touch other songs by playing other people's songs, you will deepen your understanding of music. There will be more drawers.
G:
Do you have any recommended instruments?
Kosaki:
The one with a sense of chords is good, so it must be a piano or a guitar. I think either has an opportunity to touch it. In terms of affinity with the computer, the piano is a little higher.
G:
Do you often listen to your own songs after making them?
Kosaki:
I think that I listen to quite a lot. After a while.
G:
For example, 12 years have passed since “Lucky Star”, but what do you think when you listen to a song that is so far away?
Kosaki:
I think it's well done.
G:
Is it because it was the best song made at that time?
Kosaki:
I agree. Also, since I don't want to make it so much that I don't like it so much, I've pushed out my own preference of 'I like this' and I've been thinking about the combination of my order and my favorite part every time. I feel comfortable listening to my songs.
G:
Mr. Kamimae himself has been asked about 'genres that have not yet been made', and fantasy and robot anime have little experience and answered, 'Do you want to do something unusual like that?'
Kosaki:
I myself often work in daily life, and that is my strength. On the other hand, the 'battle system' or is when ...... plainly say not too many ' Attack on Titan in' Hiroyuki Sawano There is not much that deals with flashy music, such as Mr. is doing. There is a longing for genres that have not been done so far. However, every time I do my work, I try new things and discover new things, so I am doing any job happily. It's tough (laughs), but after I was able to do it, I thought it was interesting.
G:
There are various types of “daily life” songs that are often handled by Jinmae. How do you build up this kind of song for this scene?
Kosaki:
It is not my original expression, so I refer to various expressions and works from the past. One is the strength control, “Which image or music comes first”. For example, in the case of a live-action film where there is a large amount of information with a facial expression, it can be done without adding music symbolically, and it may interfere with the music. Often in a role to turn. In the case of symbolic animation, make it into symbolic music to hit it. If you lay thin music there, nothing really stands out, so I will control the strength.
G:
In terms of strength control, which part is difficult when making live-action music?
Kosaki:
Basically, it goes around to make the video stand up, but in live-action work, there is always a part where music is applied to control the emotional flow of the audience. In “Neigare, Ultramarine”, such a scene came out in the middle, and the second half ended rather quietly, so it wasn't just me but the director who was wondering how to land.
G:
Is “landing” an image that disappears quickly? Or did you feel flat?
Kosaki:
You ended up disappearing. It ’s gone, and I ’ll end with the theme song. Rather than enlivening as BGM and doing “Janja Kajaan!”, I chose to pull it quickly and finally pass the baton to the theme song with a lingering sound, but until I knew that it was the best, there were various trials and errors was.
G:
I see. That means that the last scene was the correct way to connect.
Kosaki:
The theme song over there is good because there was silence before that, and I think it's important to choose a video that BGM doesn't claim.
G:
It ’s like a director.
Kosaki:
Making movie music is half the production of music. In the case of TV animation, a song is made according to the ordered list, and the sound director assigns it, but since movie music is ordered in the general flow, control of directing is important as how to make it I will.
G:
Isn't it the pressure to take control of the production?
Kosaki:
I agree. What we have built up with stories and videos, when music finally enters and breaks down, there is no original or child, so we support the excitement that images and stories have, and where climax comes out music While there is.
G:
Which song has the most enthusiasm in this film “Iinarena, Ultramarine”?
Kosaki:
The scene that swells in the middle is continuous. I think that the high tension of the song and the video that flow there is a response.
G:
I see. The excitement of the middle stage and the music of the final stage of disappearing as if passing the baton to the theme song are notable with the video. Thank you for today.
“go away, ultramarine” will be released on Friday, September 6th, 2019, where director Yanagi and Mr. Kamimae will drop in the aim and convey the mysterious atmosphere of the work through video and music.
Movie 'go away, ultramarine' trailer 90 seconds - YouTube
◆ “I can get lost, ultramarine blue” work information
Original: Yutaka Kono
Appearance: Ryusei Yokohama, Marie Itoyo, Honoka Yahagi, Kodai Matsuoka, Kiyo Matsumoto, Riho Nakamura, Yumi Ito, Moemi Katayama, Yuki Kimizawa, Kenshiro Iwai, Mario Kuroba
Director: Akina Yanagi
Screenplay: Minato Takano
Music: Satoru Kosaki
Theme song: Salyu 'The place we met'
Theme song producer: Takeshi Kobayashi
©2019映画「いなくなれ、群青」製作委員会
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