Hi again,
Really really sorry that this took very very very long.
Lots of stuff...... and distractions...
As usual, just drop a PM in if you have any queries/need to shorten.
Also, 2 things:
1) Due to line/spacing issues, suggest copying and pasting in notepad/Word/Wordpad before working with it. As usual, 1 line of mine = 1 line of vid's subs.
2) Do take note of the stuff in brackets. This time, I won't be troubling you with that many "add if you want" kind of things. =P
Right, here hoping I didn't butcher too much meaning:
____________________________________________
K = Kajiura Yuki-sama
M = Murai Miki
W = Watanabe Takashi
N = narrator (Taruki Tsutomu)
Mashimo = Mashimo Koichi
Words in brackets >> added for a variety of reasons, mostly optional stuff
<start>
M: The show has begun!
I'm the host of ｢ANIMEGIGA｣, Murai Miki.
W: I'm Watanabe Takashi.
M: Our guest in (the) programme today is musician Kajiura Yuki.
Watanabe-sensei, about this guest?
W: Yes. She's a musician responsible for theme songs and music in many animations
who has created a vast amount of classic music.
Reportedly, she had to write over a thousand pieces within a year in the extreme.
M: Tis really something to look forward to! (< Pretty sure she's talking about the interview here, not the 1000 pieces/year... ^_^")
Well then, let's invite her onto the stage!
Musician Kajiura Yuki, please!
K: Yoroshiku onegaishimasu! (Or "Pleased to meet you!", if you wish)
M: Apart from the musical compositions having such beauty,
it's a pleasant surprise that the one behind them is also this elegant herself!
K: You flatter me!
M: Apparently, you have been composing within a very wide scope.
To you, what kind of position does anime music occupy?
K: The truth is that I've been very fond of fantasy worlds since young.
Therefore, anime music is work that I greatly enjoy.
M: So that's how it is.
Being able to do work that you like.
K: Correct. Able to compose to my heart's content.
M: We've compiled a list of anime that Ms. Kajiura had participated in,
for everyone to have a look.
N: Kajiura Yuki,
musician who undertakes songwriting, composing, arrangement, and music production.
Her music, distinct for its alluring melodies and manifold harmonies,
has received widespread support.
She initially debuted officially in 1993 in a group named "See-Saw",
which had itself evolved from a band formed during her school days. (I know, these 2 sentences look reversed, but can't help it due to sentence structure.)
<onscreen text: Taruki Tsutomu>
Even while engaging in musical activities as a performer,
she was also providing music for other singers and film works.
Her first anime-related work
was for a 1996 animated film.
Afterwards, including TV anime, OVA, etc.,
she was composing soundtrack for a large variety of different works.
<1st anime>
(can't see subs clearly; sounds like some special attack move... ^^")
<2nd anime: Tsubasa Chronicle>
Sakura: Sorry... is it very heavy?
Very happy to see you back, Syaoran.
Syaoran: I'm back.
<3rd anime: Gundam Seed)
N: What impressed anime fans with the Kajiura's name most was
｢Mobile Suit Gundam SEED｣, which started broadcast in 2002.
The insert song ｢Akatsuki no Kuruma｣
achieved 10th place on the ORICON chart upon debut.
Additionally, the ED ｢Anna ni Issho Datta no ni｣
debuted at 5th place.
This was quite exceptional for anime songs then.
｢Kara no Kyoukai｣, whose music Kajiura Yuki was entirely responsible for,
had just ended the year before.
In order to correspond to the 7-chapter original novel,
production was carried out in 7 parts.
Its theme songs by Kajiura Yuki, led to an enthusiastic response.
Coupled with richly dramatic BGM making extensive use of chorus,
it was thereby highly acclaimed as the epitome of the Kajiura world.
M: You had been responsible for so many OPs, EDs, and insert songs.
Is there anything you take special note of when writing songs?
<onscreen text: Essentials when composing>
K: As Japanese songs need lyrics as a matter of course,
therefore when serving as a work's main theme,
I must avoid any conflict with the work in question.
I feel that language is a highly dangerous thing.
M: Dangerous?
K: Without language, imagination can be plentiful,
and the audience can fully unleash their imagination.
But once words are added,
imagination be stifled on certain levels.
M: That's true.
K: Therefore when there are lyrics,
there must be no contradiction with the work's worldview.
I pay considerable heed to this point.
M: When composing theme songs, OPs and EDs,
do you deliberately adopt those dramatic styles?
K: About this...
An OP can be considered a show's overture.
<onscreen text: OP is the entrance to the work>
Moreover, most worldviews of animation works
contain numerous differences from the real world,
for example stories of other worlds,
and I consider OPs an entrance to these worlds.
OPs are signposts of thought,
sending the audience from the real world into those of the works.
This is the expectation I have for OPs.
M: Having to stuff in various elements within so short a time.
K: Yes, to give the audience a feeling of anticipation,
a feeling of expectation about this upcoming world.
This is precisely the aim for OPs,
and such expectation prepares the audience to immerse in the work.
<onscreen text: ED of popular anime ｢Mobile Suit Gundam SEED｣>
W: ｢Mobile Suit Gundam SEED｣
had just been shown earlier.
The manner of presenting of the insert and ED songs
had left me a very deep impression.
M: The playing of the violin at exactly the right part.
K: Yeah, those few songs...
I worked very hard on them.
I felt that that work's music should carry dramatic shades.
N: ｢Mobile Suit Gundam SEED｣, quite the rage in its time,
had its ending theme ｢Anna ni Issho Datta no ni｣
begin at the last scene of this episode,
adding a hint of colour to the work's impression.
Athrun: Kira...?
<onscreen text: The two protagonists, former childhood friends,
meet by chance on the battlefield in the first episode, (the video shows this line together with the line above)
as the timbre of the violin
sounded during the climax of the story. (the video shows this line together with the line above)
The ED, a symbol of their relationship,
slowly closes the curtain for the animation.> (the video shows this line together with the line above)
M: Many among our audience had sent emails asking questions,
particularly questions about "Kajiurago".
We had received a great many.
N: A characteristic feature of Kajiura's music
is the inclusion of beautiful harmonies of a female chorus.
However, these harmonies
are well known for their unfathomable lyrics.
<onscreen text: These harmonies not recorded even on lyrics booklets
have been dubbed "Kajiurago" by Kajiura herself and fans.>
M: A female teenage (literal translation would actually be "10-plus-year-old) viewer wrote:
Every time I hear it I wonder:
Are the harmonies sung in English?
Or some other country's language?
I have always wondered about this.
So, regarding this question?
<onscreen text: The so-called ｢Kajiurago｣?>
K: This so-called "Kajiurago"
is actually a constructed language I frequently use,
a meaningless language fabricated by myself.
It's only that I arbitrarily named it "Kajiurago".
It's entirely meaningless.
W: Not even a bit of meaning?
K: Yeah.
Fabricated only for its pronunciation.
One thing is that
when I wrote insert songs and other songs for anime,
I had initially used Italian, Latin, and the like before.
Even if it were a non-Japanese song,
for scenes whose meaning I cannot match,
to use lyrics not matching the work, I don't like that.
<onscreen text: Why use "meaningless lyrics"?>
Despite the thought that few will understand anyway if English is used,
few will understand anyway if Italian is used,
I nevertheless have great psychological reactance.
When I no longer wished to continue doing thus,
I remembered that I could choose constructed language.
If you were to ask me about its benefits,
it would not be shackled by meaning,
allowing listeners free rein for imagination,
and I also get a lot more freedom myself.
W: I see.
K: The sounds fitting the melody most can be used.
There previously had been no choice at times
but to sing unsuitable pronunciations at clearly unsuitable vocal ranges.
Totally not a problem when using constructed language.
If singing 'a' suits here then sing 'a',
if singing 'i' suits there then singing 'i' or 'mi' are both fine.
There's total freedom in articulation as the lyrics have no meaning.
Therefore there's considerable freedom in singing.
N: Kajiura Yuki, who had left the stage for many years,
had from the year before begun rejoining live activities,
and had held a nationwide tour last year.
<onscreen text: FictionJunction YUUKA,
whose producer is Kajiura. (the video shows this line together with the line above)
A total of 5 female vocalists
had sung unique anime songs seperately.> (the video shows this line together with the line above)
M: You had recently also input plenty of energy into lives.
To you, a live is a type of?
K: Way to pass time.
M: Pastime? K: Saying this may not be so good. (yes, the subs put these on the same line)
To speak the truth, holding concerts is very interesting.
<onscreen text: Significance of live activities>
The past few years I was constantly "writing" songs,
with no contact with stage activities for many years already.
After many years I held a live on the spur of the moment.
That feeling got me addicted instantly,
lamenting that it's actually so meaningful,
the joy of sharing music with the audience live.
Memories from many years ago were hooked up in a flash.
After all I usually mainly create CDs, OSTs, etc.,
hearing it at a different timing from everyone else.
This problem will not exist during lives.
W: There's a recent saying going around about the anisong trend.
Numerous anisongs are getting onto various music charts,
such that people feel its already no longer a type of subculture.
Regarding this state of affairs, what do you think?
<onscreen text: Anisong wave in Kajiura Yuki's eyes>
K: I have actually personally
never distinguished between anime songs and other songs.
Regarding this state of affairs about music charts,
I think it's because the works and theme songs are combined well.
Therefore from fans' point of view,
if a song is very suitable for the world of an animation
or embodies the world of that animation vividly,
the moment the audience thinks this way
it probably shows that this song has touched their hearts.
It should be a big hit as a matter of course.
Therefore for a song to get onto charts,
perhaps it had been connected to the work very well
and gained the recognition of the audience or listeners.
So if my own songs can get onto the charts,
I will find it a glorious thing.
Considering also that so many songs get onto the charts,
this perhaps illustrates that anisongs nowadays
are connected pretty well with anime works.
This is what I feel.
<onscreen text: Not only do Kajiura's lives have theme and insert songs of anime,
but also BGM, unique for their enchanting harmonies, performed live,
bringing about fans' enthusiasm for them.>
W: Your father apparently likes opera a lot?
<onscreen text: Origin of Kajiura's music>
K: Despite not going so far as to work in opera,
my father was certainly very fond of singing,
often singing opera songs and the like at home,
and of course he really liked going to watch opera.
M: When listening to opera,
do you mainly listen to the content of the lyrics
or the song's melody?
K: This that you ask I really cannot answer.
However my hearing is quite good,
I can sing French and Italian after I hear them.
Maybe that's where my constructed language came from!
Even though totally unintelligible,
it can be memorised and sung using just hearing.
W: Looks like this surely is the origin of the constructed language.
N: Kajiura Yuki, who took up piano since 4,
had due to her father's job
moved to Germany when she was 7.
She had often accompanied her father who loved singing opera.
The whole family watched opera together every month.
From the age of 6 she grew up surrounded by music.
Upon returning, she joined choir in high school
and was in charge of composing for the thirty-odd chorus,
and the music group she formed while attending university was
the predecessor of See-Saw, the group in which she formally debuted.
M: You did not go to a music academy.
<onscreen text: Why not a college of music?>
K: Since I like writing music,
I was considering whether to attend music academy or not.
However my father passed away when I was in high school.
As a result I felt "now is no longer the time to dream",
and decided to live a bit more realistically.
M: Therefore you started work right after graduation right?
K: Yes yes.
I originally intended to work in a big company for life.
M: Being a white-collar office worker on the one hand,
carrying out the band activities you love on the other,
afterwards debuting as "See-Saw".
<onscreen text: From white-collar office worker to professional musician>
K: At that time I didn't intend to abandon music for good.
Since I like it, I felt that treating it as a hobby is not bad.
Therefore I originally decided to work on the one hand
and relish the joy of music on the other forevermore.
In the end with the increasing formality of the band activities,
it was very difficult to take care of both sides,
whether work or band.
However I also wanted to get into it properly.
In this way I finally had to choose between the two.
But I also loved my job and actually didn't want to give it up.
When it was time to choose,
my father's image appeared in my mind.
My father and I had originally agreed
that when I was 20, I would handle piano accompaniment,
he would sing Schubert's ｢Winterreise｣,
We would carry out a recital together.
However my father had passed away before I was 20,
making this agreement impossible to fulfill in the end.
Perhaps also due to this reason,
I felt that human life was much shorter than I had imagined.
I had this lamentation in my final teenage days.
Brief beyond my imagination, no idea when it ends.
So when I had to choose between the two,
I thought: Might as well choose music.
And consequently walked that path.
W: The opera your father loved influenced you tremendously,
letting you make your most important decision at that crossroad of life.
In the end he was the turning point in your music career?
K: That's right.
It was my father who first taught me to appreciate
the basic components of piano, songs, and other music.
Even now, on the pitch-black stage of an opera house,
letting music gradually rise in the darkness initially,
and then illuminating the whole stage with radiance in an instant,
that type of feeling before the world of an opera expands,
be it a heart-throbbing feeling, be it anticipation,
be it a feeling sending the audience flying into that world all at once,
I have in fact always hoped to
once again express that kind of feeling in my own music.
N: This was the first TV animation that Kajiura Yuki took part in.
About its director, Mashimo Koichi, whom she knew through this work,
Kajiura said that he had influenced her greatly.
<onscreen text: 3 composers had taken part in ｢Eat-Man｣.
Among them, Kajiura's music was mostly used in scenes
with vast landscapes without lines.> (the video shows this line together with the line above)
N: Mashimo Koichi
had by ｢Yatterman｣, ｢Gold Lightan｣,
｢Mirai Keisatsu Urashiman｣, etc. gained fame as a veteran director,
and starting from ｢Eat-Man｣, Kajiura Yuki had
worked with him in more than a dozen animations.
<anime: Noir> (no subs)
<anime: MADLAX>
Soldier: What kind of person is that!?
<anime: Tsubasa Chronicle>
Syaoran: Excavating the relics over there
was Dad's dream before he passed away.
Sakura: It's already been seven years.
M: You had worked a lot with Director Mashimo.
On you, had this director left any influence?
<onscreen text: Encounter with veteran director Mashimo Koichi>
K: A great influence. I learnt a great deal.
M: How does Director Mashimo usually request music from you?
K: When Director Mashimo makes a request he would usually say,
"Write it any way you want." (M: Is that so? (You can leave this small 'M' part out if you wish; the subs don't write it, but you may choose to insert it somehow))
W: That's really simple. The director trusts you a lot.
K: Indeed. He's really a director who gives lots of freedom of expression.
He often says this:
"What I want is not background music."
<onscreen text: What I want is not background music, but foreground music>
"Write me some foreground music."
M: No longer BGM, but FGM.
K: He also said there's no need for obscure music.
Really a director with audacious style.
M: There are quite a lot of scenes without lines right?
K: Plenty indeed.
M: How do you view that type of scenes?
<onscreen text: Scenes with Kajiura's music as the core>
K: In a certain sense it feels quite glorious.
For instance some scriptless scenes last up to 3 minutes
with constant music. Because there are no lines,
thus the final images keep accompanying the music.
A glorious feeling.
<onscreen text: Anime director Mashimo Koichi>
N: We had also interviewed Director Mashimo.
Mashimo: Rather than say Kajiura is a musician,
<onscreen text: Why use scenes without lines?>
might as well call her a novelist who transforms writing into music.
It is perhaps even not too much to call her an opera writer.
Kajiura's music is generally rather long
and contains dramatic ups and downs.
Not very edit-friendly.
Therefore even loading and playing it fully for 3, 4, 5 minutes,
transitioning using just her music, there's no problem at all.
After production's done, the images and music match very beautifully.
W: About BGM's significance, and its reason for existence,
apparently you had also thought about this a lot.
K: Director Mashimo's guidance was a big opportunity.
<onscreen text: Learning the meaning of BGM's existence from Mashimo's works>
When can BGM be rather prominent,
when should it not be too prominent,
the effect when it is prominent,
or when it is not at all prominent,
the effect of inaudible music totally blended into the background,
as Director Mashimo likes to experiment with these very much,
I could verify various experimental results firsthand,
thus learning a great deal from there.
The first TV animation that gave me a sense of realism writing music for
should be the anime ｢Noir｣.
<anime: Noir>
Mireille: I'll ask one last time.
What are you?
Kirika: Noir.
N: Director Mashimo Koichi's anime ｢Noir｣
gave Kajiura confidence in soundtrack composition.
Kirika: I can kill?
This easily...
<onscreen text: It was in this work
that Kajiura extensively used of BGM with female harmonies, (the video shows this line together with the line above)
bringing a brand-new atmosphere to the anime music world.>
K: Because of that anime
I felt that producing soundtrack for animation was really interesting.
<onscreen text: Felt the charm of anime due to ｢Noir｣>
That I really decided to continue in this field of work
was also because of that anime.
Though I had tried much before that,
yet I had never clearly considered what to do.
Since so long as it is music-related, I don't mind doing anything.
So long as I can create music, I am happy with anything.
Therefore no matter the job, there's nothing I dislike.
I feel I can enjoy whatever I do,
as long as it is music.
Therefore at that time I had never clearly considered
questions such as whether to "do only this" or "continue with that".
Until collaborating
with Director Mashimo on that anime,
having experienced the joy of fusing music and images,
<onscreen text: Pleasure of fusing music and image>
only then did I feel this job is really not bad.
It was Director Mashimo who got me hooked onto anime.
M: How do you create instrumentals and other soundtrack?
K: Objectively speaking,
soundtracks do not come from characters,
but mostly from the background at that time.
Therefore when writing soundtracks and other BGM,
I will first ask the producers about the background.
<onscreen text: Conceiving the work's world through background images>
W: The background of the images? (K: Yep. (again, this small 'K' part is not subbed))
The story's background, also images in the animation right?
K: That's right, the background of the images.
For example how vast a grassland in the animation is,
this point must be considered when writing BGM.
W: If it were live filming,
there'll be environment factors such as sounds of wind,
tiny outdoor noises, and the like recorded into the work, (K: That's right. (again, unsubbed))
while animation is totally devoid of such things.
K: These must be created according to the work.
If outer space then outer space, if grassland then grassland.
Whether a small field or a large grassland, the difference in vastness,
these are very important considerations when creating music.
One must first catch the feeling of the background size
and only after that start creating music.
M: Are there many composers like you who rely on backgrounds that much?
W: This is a first for me.
M: The script would definitely be provided beforehand, right?
K: Correct, it'll be provided even if I do not ask.
M: The melody has to be impressive
to remain the audience's ears after all.
K: That indeed.
<onscreen text: Kajiura's soundtrack style>
Because I mainly write songs after all,
I do feel that I only specialise in writing melodies.
As a result the music I write all center around the melody.
M: Aren't soundtracks generally like that?
K: In the soundtrack style prevalent these days
many soundtracks actually basically do not have melody,
just drumming "Dong! Dong!" for example.
Most melodies are repetitions of one or two phrases,
the sountracks of many works are actually like this.
Not saying this is no good of course,
just that I'm not very good at this technique.
Once I start the melody would gradually develop before I know it,
as a result the melody gets longer and longer.
Therefore I'm actually no good with soundtracks with little melody.
W: However if songs and soundtracks are combined,
perhaps the feeling is also pretty nice?
K: That's perhaps the case.
N: ｢Kara no Kyoukai｣, in which Kajiura was involved for three years,
was a popular anime adapted from Nasu Kinoko's original novel.
Seven movies were made within a short span of three years,
with the concluding seventh chapter released last August.
<anime: Kara no Kyoukai>
Girl: Therefore so long as he is willing, he can fly to any place.
I really wish for him to take me away.
Can you fly?
N: Kajiura, who was deeply fascinated by the original novel,
had in order to perfectly express the work's worldview
specially assembled the new vocal unit "Kalafina".
M: Were you obsessed with reading the original novel?
K: I quite like the original novel.
<onscreen text: Deeply fascinated by the ｢Kara no Kyoukai｣ original novel>
M: Ah, is that so?
K: Of course I like all the other works I was involved in.
However regarding this work,
upon receiving the novel
I felt entrapped after reading just half of it.
The main theme was completed after going through half of it,
despite me not having finished the book.
That's to say I felt a sudden inspiration.
<onscreen text: Found musical inspiration from within the original novel>
I closed the book after half of it
and turned to write songs,
re-reading it from head to tail afterwards
to give myself closure.
I requested the producers to let me write the music after that.
It was in the end a job arduously requested for.
M: Feeling "Only I can write it well."
K: No way no way!
It's "I beg of you, please let me write".
M: Because this is theatrical anime,
you therefore also wrote the music while matching images?
K: When I first started writing music for this work,
it had only reached the script stage.
There were no actual images.
I asked for images assembled using scripts,
as well as lines done by provisional seiyus, (care to insert short explanation of "seiyu" at the top? If not, just replace "seiyus" with "voice actors")
hence I had images considerably close to the final product.
With them, writing music was far easier for me,
starting with facing the images while flipping through scripts.
And then about the length of music to insert,
for instance putting 13.5 seconds here and the like,
I first discussed these problems with the producers,
and then based on the discussion outcome
I went home and slowly wrote music while looking at images.
<onscreen text: Persistence of animator vs persistence of composer>
Writing the music is actually not too hard,
but the animation will be adjusted.
M: Ah, as production is underway.
K: Like this, the length of the music is firstly a problem.
Every frame has its timing after all.
Adjust the frames a little, and the music no longer fits.
W: Is readjustment needed every single time?
K: Readjustment is needed every single time.
M: That is really troublesome.
K: Yeah. Some may need length readjustments three or four times.
Had encounted this many times,
and it is most difficult when both sides do not give in.
Sometimes the producers insist about a particular scene
extremely persistent, yet I also insistently refuse to yield.
Even the release date had already been decided
and there wasn't time left, yet we were still competing.
This had also happened before.
Like, the checking is tomorrow,
it'll be too late if the length is not decided upon, things like that.
There were dialogues like this often.
M: Always battling with time.
K: This indeed.
This work unleased everyone's full stubbornness.
It really made everyone put in their last ounce of strength.
<anime: Kara no Kyoukai>
N: To the persistence of the film production team
what kind of music did Kajiura respond with?
Shiki: That day, SHIKI died in my place,
so as to guard his dream of "living on blissfully".
(In classroom) Shiki: By what do you trust me?
Mikiya: I have no basis.
Yet, I will probably always believe in you.
Hm, because I like you, so I want to trust you forever.
Shiki (thinking): The "Mikiya Kokuto" that SHIKI likes, the representation of this dream,
is for SHIKI - who does not know anything apart from killing -
the first time receiving an emotion apart from killing.
Hopefully SHIKI can see this dream forever.
Therefore, I hope he can at least remember SHIKI.
M: From this job, do you feel like you have learnt anything?
<onscreen text: What has been learnt from ｢Kara no Kyoukai｣>
K: I have learnt plenty.
Not sure whether to say this:
viewpoints of image producers and music writers
are different from the start. I was reaquainted with this point.
But I feel it's good like that.
These two should never be unanimous from the start.
However, this work let me feel that
disagreements between them could yet be even more intense.
Film producers have inclination towards film,
composers have inclination towards music,
but if this insistence towards music is made too profound,
<onscreen text: Animator and composer fated not to understand each other?>
it will be incomprehensible for film producers.
It is the same principle for insistence towards film.
Working together until each understands the other,
this is a very proper and very mature practice.
But on the flip side, not understanding each other,
debating a step further, I see nothing bad about that.
There will of course be confusion in the debate,
since each doe not understand the other after all.
M: That's true.
K: Although many cases will end unsettled,
yet in the process of the debate,
very interesting chemical reactions will occur at times.
When adults get serious like that,
even a little willfulness in many aspects is not bad at all.
This work had once again told me this.
W: This industry that creates music for animation,
it can be said that you walked into it fortuitously,
and then formally undertook this field of work.
Many years have passed,
and anime like ｢Noir｣ that fuse with music
also happened to gradually increase from the time you joined.
We can feel that people who understand anime are increasing right?
Looking at it from a musical aspect,
I believe you might have had this same feeling all these years?
<onscreen text: Manner of existence of music within anime>
K: Not limited to anime I had the fortune of taking part in,
I feel that the variety of anime music is astonishing.
Various musical styles, various musical experimentation,
various composers keep experimenting in the realm of anime.
The freedom and variety within always amazes me.
A realm allowing composers to let loose to such an extent -
it can only be anime.
This is because animation is still a young culture,
the ones producing the films or stories are all very adventurous.
While seeing this amount of venturing within film or story,
plenty of composers come forth seeking adventure.
This is truly a world of freedom.
Of course this freedom does not mean slacking off,
yet why does everyone like to experiment here?
Perhaps anime is such a place.
M: Seems you are really having fun in your job.
K: Having fun of course.
I feel that a musical profession cannot continue without enjoyment.
M: Do you envisage anything for the future?
<onscreen text: Future outlook?>
K: Nothing.
Saying this reveals that I have never considered about the future.
But basically speaking, I'm very happy taking up musical work.
As long as it is making music, any kind is fine.
This point is unchanged from the past.
However the kind of feeling when music and image combine,
if I can get to taste more of that in various ways,
I will feel even more happy.
Therefore in future I hope I can take part in more works.
M: Well then please have a look at this VTR. (The subs say "screen", but the lady clearly said "VTR". Just use whichever preferable.)
<onscreen text: Anime director Mashimo Koichi>
Mashimo: Of course I hope I can work with her in future works.
On that basis, after first securing this basis,
I also really hope
that after Kajiura concludes work in animation, theatre, etc.,
she can write a true opera.
I believe she can become a true opera composer.
I very much want to see it. Any type will be good.
This is probably also in the hearts of all Kajiura fans.
M: Really want to see it indeed.
W: Surely fans also have the same opinion.
Please be sure to consider this.
M: Well then Mr. Watanabe, let us have you ask the final question.
W: Right. You must have thought much about this,
but please tell us frankly:
To you, what is music?
K: How to put this, music is...
I did think about it before. Music is my only specialty.
If I don't work with music, I'm no longer myself.
Really hard question. Feels like exaggeration no matter how I say it.
After all my life up to now has always been related to music.
However, because I'm here,
I'd like to say it's a form of entertainment.
W: I see.
M: Really fits Ms. Kajiura's style!
W: Yes, she enjoys lives that much as well.
Certainly enjoying a life of music.
Hopefully we can enjoy more of your musical works in future.
M: Opera too.
Thank you for your time!
K: Thank you everyone.
<onscreen text: To composer Kajiura Yuki music... is a form of entertainment>
<end>
Skitty