A Kajiura SPECULAH thread, apparently.

I’ve always loved his work on Death Parade (particularly its main theme), but I’ve not really listened to his more action-oriented OSTs. That said, his resume is extensive, so I would presume his work on HnK is solid.
 
george1234 said:
Too bad Kajiura seems to exclude herself
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... because in george's world producers don't choose composers.

but hey, maybe you're right and she's turning them down on every remake project.

Did we have that many remakes of YK related projects? Hokuto no Ken was hardly hers to begin with. SAO progressive kinda remake still had YK.
 
Why wouldnt the want the same composer as the first time ? Its much easier than hiring someone new who needs to make completely new music while if it was Kajiura she do a re-recording and a few arrangements probably (see madoka tv anime vs the movie versions). Alsi bring back fans due to nostalgia

I dont know if she refuses or they dont even ask her but i have a feeling that they do.
 
george1234 said:
Why wouldnt the want the same composer as the first time ?
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Often times remakes are handled by completely different people, and everyone has their prefered people to work with. It´s also quite possible the director/producer wants a different style of music.
Madoka series and movies 1&2 don´t really count since they weren´t a remake, more like a remaster in movie format.

And finally, it could be a budget thing. Kajiura is very well known in the industry, she´s a veteran, has won awards. Her rates are definitely not cheap (I mean, she said that the few soundtracks she makes every year are enough to live a comfy life, and concerts are just extra). And I have a theory that that is the reason why she´s been doing a lot of co-composing. Companies can´t afford to have her write the whole soundtrack, so they only have her write main theme + a few other tracks, and the rest is made by the other compsoer)
 
Lorde-Kowz said:
And I have a theory that that is the reason why she´s been doing a lot of co-composing. Companies can´t afford to have her write the whole soundtrack, so they only have her write main theme + a few other tracks, and the rest is made by the other compsoer)
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Interesting theory and not far-fetched at all.
 
just talking out of my ass

I feel like "Remakes" often make it a point to be different from previous iterations (regardless of it being nostalgia-bait or doing it again-but-"better"). Then there's stealth sequels... v( '')v

I don't know if hiring 3 composers on Rayearth would be cheaper than getting just 1, regardless of what YK could be charging (although who knows?).

I'm more of the opinion that IF she's approached for anything AND she declines, it's more likely due to her schedule and time constraints... or maybe interest - she doesn't always have to feel like she wants to do a particular project. ;p

And on that note... we also don't know how desirable among the producers YK/YK music actually is... :p Grumpy much?

Didn't we also have some YK interview recently, where she said she doesn't really like revisiting her old work (arranging for lives specifically)? Or did I make that up?

PS.
Not strictly anime I guess but the Oban Star Racers bluray extras mentioned that its producers approached Yoko Kanno to do all music for their show but she had no time to work on the whole thing and recommended Taku Iwasaki instead.
 
Eat-Man’s also an interesting case because it both a) had additional composers for the ‘97 anime besides Kajiura and b) replaced a majority of the staff (excluding Masashi Ebara) for the ‘98 show. Not to mention that the original anime barely bothered to faithfully adapt the manga other than superficial similarities; 99% of it was Koichi Mashimo and a couple of Pokémon writers coming up with incoherent nonsense that resulted in an intriguing, if bizarre, artistic experience.

It’s a bit of a shame because I would be curious to see how Kajiura would work with a new version of Eat-Man, but oh well. Long live BORUTO CRANKU and his group of traumatized women he kept finding on the side of the road.
 
grunty said:
I'm more of the opinion that IF she's approached for anything AND she declines, it's more likely due to her schedule and time constraints... or maybe interest - she doesn't always have to feel like she wants to do a particular project. ;p
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That's a good point, about the schedule and time challenges.

grunty said:
Didn't we also have some YK interview recently, where she said she doesn't really like revisiting her old work (arranging for lives specifically)? Or did I make that up?
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I know I've read somewhere (in an older interview) that she doesn't return to old scratch compositions that she throws away during her trial-and-error processes.

I think I also read that she doesn't listen to her own music much because she spends so much time with it (can't recall how or where I read that).

On a related note, I imagine a benefit of the annual lives is that it allows her to revisit her discography again and again over time, and see new colors in what she created in the past as the years pass, especially working with new singers singing the old songs.

It's obvious that Kajiura enjoys covering her own music with different vocalists.
 
Decretum said:
Eat-Man’s also an interesting case because it both a) had additional composers for the ‘97 anime besides Kajiura and b) replaced a majority of the staff (excluding Masashi Ebara) for the ‘98 show. Not to mention that the original anime barely bothered to faithfully adapt the manga other than superficial similarities; 99% of it was Koichi Mashimo and a couple of Pokémon writers coming up with incoherent nonsense that resulted in an intriguing, if bizarre, artistic experience.
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And there's still so much stuff there that's not released on CD... darnit, Mashimo. Y we have to suffer. -_-
 
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