Madoka Magica movies

Kowz said:
Kajiura interview!

http://imgur.com/a/vFDYK
Click to expand...

[p24, continued]

[IT TOOK A LONG TIME TO ADJUST THE TIMING OF THE TRANSFORMATION SCENES]

The film has many musical elements - there are scenes of the characters singing, and the transformation scenes are directed like ballroom dancing sequences.

KAJIURA: Yes, there's even a rap song. When they first asked me to write a rap song, I thought, "Rap?!" But since it was Madoka Magica, I knew that an ordinary rap song wouldn't do, so I made it somewhat cute...actually I made it into a weird rap song. Initially, I thought, "Maybe I'll just make this one a full-blown rap song", and I used this extremely heavy rhythm. But it just wasn't a good fit. Once I made it into a Madoka Magica-esque rap, or should I say pseudo-rap, it blended in rather well.

Including the rap, this time you had songs that already had lyrics.

KAJIURA: Right. The "Not Yet" song from the first half, and the song of the witches' familiars in the second half. It's not just these songs, but usually when songs already have lyrics, the lyrics are longer than the scene. But I can't bring myself to say, "There's not enough time, so it's impossible." So it often turns into a challenge to see if I can fit the whole thing in. And these were lyrics written by Inu Curry, so I wanted to include them all, even if I had to stick them into a chorus. I did manage to fit in all of the lyrics that I was given.

Song-wise, were there any similarities with the TV series in terms of image?

KAJIURA: I did a lot of theme-like melodies from the TV series. For example, even in the first half, when
no one's realised that it's a fake world, I have snippets of a more upbeat version of Homura's melody playing. And when she realizes that she's actually a witch,
I have a version of Homura's theme booming throughout. Also there's a song
we called "Mami's Theme", which had an image that should raise red flags everywhere; this time, we played it where it belonged,
when the magical girls are fighting so vivaciously.

So you're using each character's theme song in new ways?

KAJIURA: For the transformation scenes, if that character had her own theme, I tried to play it as much as I could. But Kyoko was the only one who didn't have a theme, so I did write her one from scratch.

What kind of image did you base Kyoko's song on?

KAJIURA: I could've written her a prettier, sweeter, more refreshing song, but
in the storyboards, Kyoko's transformation scene was a little scary. So it has a slight ethnic flavor, and it's a bit dark.

In the transformation scenes, each magical girl shows a different dance motif, but were you conscious of that?

KAJIURA: Yes, I was. But they requested thatI connect the songs for the transformation scenes. And it's difficult to change all those different types of music. Since Mami's was the most like dance music, that was the only one I changed the beat for, but for the rest, I gave them a uniform tempo and changed the melodies. Also, for that scene, they already had the visuals of their poses, and I was asked to set them to music. That was pretty difficult and I spent about a week adjusting the sync - "If we go on at this tempo, this girl's gonna go out of sync right here". That scene actually took a lot of time to make.

[THE INTENT OF THE ENDING THEME THAT LEAVES THE AUDIENCE HANGING]

What image did you base the ED theme on?

KAJIURA: This was hard, too. But the part that I was most careful about was
not making Homura out to be neither good nor evil in the ED theme. If you determine who's good or evil through music, then the viewers would think the same way. We have to leave it all to the audience to decide whether Homura becoming a demon is a good thing or a bad thing.

So for what happened in the story, you didn't write songs that would explain how things should be interpreted.

KAJIURA: That's right. I wanted to write songs that weren't from the girls' point of view. Normally, I think that music portraying the strong emotions of middle school-age girls would be a better fit for Madoka Magica. But in the case of
[24]
Rebellion, if you emphasized the girls' feelings, you'd have to settle for one interpretation of the story.

I see. The meaning of the story is interpreted through those girls' emotions.

KAJIURA: I wanted to avoid making the lyrics determine whether
Homura was a good person or a bad person. So both the lyrics and the song stayed neutral - she's neither good nor evil.
It's as if the music drew further and further away, from the girls' emotions to the overlooking view. In that sense, I had no choice but to set the music to this film differently than when I did it for the TV series. Particularly in the second half, it's moving further away from the girls' emotions, and moving towards the background.

But it must have been hard to write the ED theme, in other words, the main theme, without clarifying the meaning of the story.

KAJIURA: Yes. That part, I'd made up my mind to write from an overlooking view. In other words, it's not a song sung by younger girls, but a song by "something" that's looking at the girls. It doesn't matter what that "something' is, but I meant for it to be the closest to the viewpoint of the people who'd come to see the movie. Either way, they're not thinking that the girls are right or wrong, they're just watching. I thought it would be good to have a song written from that point of view.

"Just watching" doesn't mean they're distancing themselves, but that they're quietly observing what the girls are doing.

KAJIURA: I'm an athiest, but if God did exist, I'd think he was something that was "just watching". Even when we see ants, it's not as if we want to guide those ants the right way. If there was a god, then I'm sure that's what he's all about. It was one of my themes, to write lyrics from an objective point of view, neither affirming nor rejecting anything.

Did you think that that kind of attitude was necessary for this movie's ED theme?

KAJIURA: The people who finished watching that movie, especially those who saw it for the first time...I think that at least 95% of them were left in a daze. I don't think that it is right to create lyrics that would lead them to one answer. You can't make them think, "This was actually a good story", or "This was a scary story". In a sense, when viewers are left hanging and then tossed out, you shouldn't let them land. I wanted the songs to leave them in a that dangly state, and make them vacillate. I didn't want them to be songs that would dump its emotions somewhere, and that would be it.

[HOMURA'S ACTIONS ARE NOT CONTRADICTORY, THEY ARE CONSISTENT]

Do you always make an effort to write music that doesn't try to explain the story from the music side, like you did with this film?

KAJIURA: No, it was the same for the first half of Rebellion, but when the content is the kind that will cause most people to feel the same way, I write songs that accommodate for that. If it's a title that makes its viewers happy, I write music that amplifies that happiness. But as far as this movie, especially the second half, was concerned, it would have been extremely difficult, and I felt that it shouldn't be done.

Do you think that it's the fact that it makes the viewers feel like they're dangling that makes Rebellion so intriguing?

Kajiura: I don't know. I think there are lots of other intriguing things about it. But I do feel that this title has no contradictions. Homura's actions are remarkably consistent.
Whether or not she became a demon, in the end I don't think it mattered to her. It didn't matter whether she became a demon or an angel, if she lived or died; I think that if she could just go through with what she wanted to do, it would be enough for her. It was just that in the end, when she chose the best method, she happened to turn into a demon.
That was all. In the final episode of the TV series, Madoka also chose the best method, and turned into the Law of Cycles. I think it's the same thing.

So that's what it means, not to be able to distinguish between right and wrong. That was just the end result.

KAJIURA: Yes, that's true. It may be a bit shocking to those watching, but after a process of trial-and-error, that turned out to be the best method for her.

I see. Lastly, Rebellion didn't explain the meaning of the story through the music, but do you have any thoughts on how you'd like people to watch the Blu-ray?

KAJIURA: I never think, "I want people to see it this way", whether it's music or anything else. The viewers are free to do as they wish, and it doesn't matter to me how they feel about it or how they enjoy it. That said, it is a title that's chock-full of various elements, and personally, there were a lot of scenes that were so cool it gave me goosebumps, but I've still only seen the finished film twice. So once I get the Blu-ray, I'd like to watch it thoroughly myself.

YUKI KAJIURA
Composer, music producer. Debuted in 1992 as Unit See-Saw. Has contributed a wide range of songs unlimited by genre, including TV, commercials, films, anime, and games. Also works as a sound producer.

[end quote, they didn't even list Yuki Kajiura as a performer]

Someone else can type up the Gen Urobuchi interview if they like, he doesn't mention Yuki Kajiura in it.
 
Thanks Kuga! I am watching the film tonight, I can't wait any more! (Did not know Yuki was an Atheist. Hmm interesting.)
 
Liana_Ilia said:
Thanks Kuga! I am watching the film tonight, I can't wait any more! (Did not know Yuki was an Atheist. Hmm interesting.)
Click to expand...

Hopefully you haven't heard or read any spoilers yet (please look at them after you have seen the movie and let me know if you thought that they were appropriate)! The atheist statement was interesting after receiving the get-well card that stated she and the others were praying for my complete recovery.
 
^well, she may not be the one praying but everyone else is. That's what I got from your statement, or it's just a figure of speech, like saying “thinking of you.”
And just watched the movie. Wow… I was blown away. (Listening to Holly Quintet now heh, that part was amazing and fit so well with the song.) I love misterioso even more now after hearing it in the movie, and mada dame yo? was nice too.

Some observations: thought the music obviously fit so well with the movie, I think she states it perfectly when she says “the music comes in a boom and then fades out” like in shows, but here you can have an entire song. It’s great. I love Kyoko’s new theme, since it was made from scratch. Heh It fit well with her personality and her transformation. It’s kind of weird hearing the music apart from the movie now.

Never saw that coming at the end where Homura became a demon. I liked her outfit though lol. The violin song he is… is perfect for when the boy (forgot his name now) played the violin after the battle. I guess that’s the “he” in the song. I don’t really think it leaves you hanging at the end, even though it shows Homura falling off the cliff. Maybe she finally realizes what she is? Just something I thought of. Also loved when absolute configuration played during the Homura and Mami fight, that was probably my favorite scene from the movie. heh
All in all I loved the movie. Going to see if my brother will want to see it tomorrow. Love the visuals, it’s like paper made dolls in the background with stop animation, is how I think of it. I also think of the claymation with the dinosaurs that I used to watch a looong time ago. Love it and recommend it.
 
Thought I'd post the first half of the LisAni interview. It's a lot longer than I remember. I think some of the points will coincide with the interview in the BD booklet.
The second half covers the Gin no Niwa and I see she says something similar in the booklet too. I'll go translate that when I have the time. Apologies if something doesn't really make much sense. The style of writing for the Kajiura interview was one where the writer writes in between what each of them has to say.

Kalafina Section (just some pointers)
-They received the script before recording Kimi no Gin no Niwa
-They discussed whether to read the script before recording
-Wakana didn't read it at all, wanting to go in to the movie fresh
-Keiko read half
-Hikaru read it all. And because she knows the scenario, she says it's a little hard to sing it happily (as ordered by Kajiura)
-Kajiura tells them that "gin no niwa" refers to a world that someone has created

Kajiura and Tsuruoka (Sound Director)
WARNING: Untagged spoilers galore. DO NOT READ if you have not watched the show and do not want to be spoiled. There's a spoiler right in the first line. You have been warned.

..Skipping some part at the front by the writer...

Kajiura says...
I think that she's unwavering in her resolve. Homura simply did what she herself wanted to achieve. However, when I first read the script, I was shocked/surprised by the word "Devil". But before that feeling of shock sank in, I went "Eh?!" Aside from her calling herself the "Devil", I thought everything she did was just a way for her to reach her goals.

According to Tsuruoka, this work had around 20 more songs than the TV series, all of them, produced to match the storyboard. In otherwords, they were "matched to the picture." This "matching the picture" was something Kajiura was good at. However, she had some difficulties with this work.

Kajiura says...
This time, there is no "scene of crying" in the last scene where you will be simply moved. Music is attached to "waves of emotion" so the fact that there was no such scene made it a little more difficult to follow that "wave". The first half of the movie, in the dream world where they get along happily, where this state (of getting along, etc) gradually began to collapse, and up to the point where they work hard to try and save Homura, is easy to grasp. A normal series probably would have ended there. But "Rebellion" goes beyond that point and that is where it becomes difficult. Towards the ending, the actions chosen by Homura are scary, sad and also beautiful. But if the music conveys any one of those emotions, then the scene will be seen as such (ie. scary music will only make the scene look scary and overshadow the sad and beautiful aspects). So I was particularly troubled by that part.

(Summary) The writer talks about how viewers, right from the start, feel that something is off, because of the impossible day to day lives of the five Puella Magi shown on screen. How Inucurry has a big influence on this strange feeling of discomfort.

To this, Tsuruoka says...
In addition to there being a lot of parts where Inucurry's work was used, as a scene, they were long. The orders to Kajiura were made based on this image, but this time, it feels like this image has become the axis (of the series).

Kajiura says...
This time, Inucurry components are present even in the bright day to day sections. That, and how the series started by showing an impossible day to day life featuring all 5 of them, will probably leave all viewers going "??". Moreover, the movie starts in a similar way to the TV series so viewers are probably thinking "something is off..." even as they watch the events unfold. I wanted to express that feeling of stagnation (trapped) through music. That music was the “Mada dame yo” song (lit. not yet).

"Not yet. Not yet." A simple and yet memorable insert song where these lines were repeated. These lyrics, where the keyword "Nightmare" also appears, were written by Inucurry.

Kajiura says...
The lyrics were written in the script and I was asked by Tsuruoka to turn it into a 1 min song. I had ASUKA, who had once particpated in FictionJunction, to sing it for me. I thought the song would be a perfect fit for her bright voice which is different from both that of a child and that of an adult.

In the first half of the series, melodies that viewers would have heard of before were reused intentionally. This serves as a mechanism to characterize the world Homura created.

Tsuruoka says...
We intentionally decided to use songs from the previous series at the start. In a way, this lets the viewers think "is this just a dream?" as well as to naturally direct those acts of everyday to school. However, not a single cut was lifted (from the original). Everything was created from scratch in a similar manner.

Kajiura says...
That dream world that Homura created. It's a really beautiful world, isn't it? We hear Sayaka ask "Is it really okay to destroy it?” but I think even within the viewers, there are those that feel that they would like to peek at this world a little while more. They realize "This is a strange world" but I didn't want to use unsettling noise, or purely "scary music". It's somewhat nostalgic, somewhat sad, and a little sweet. Not music that makes you think "I want to leave immediately!", but music that kind of tempts you, and repeat that throughout, right from the beginning. I thought that would be fitting for the series.

Tsuruoka says...
During our meetings, we talked about the main melody, and in particular, Homura’s melody and where to place it. I thought it was good that we had a collage, an arrangement of that familiar melody during the climax, where Kajiura presented it like a suite (Note: this seems to be "We're here for you", not the mada dame yo. But they collectively decided where they should use the mada dame yo melody) .

Kajiura says...
Back during the TV series, I had always thought that Madoka Magica was about the "(little) girl's narrow/confined world." So I thought it was not alright to write the music from a bird eye's view (overlooking everything). In contrast, for a work like Fate/Zero, it was the type of work where the music had to be written from a bird eye's view. Sort of like sitting on a sofa to look at that worldview. But the world of girls, as shown by Madoka Magica, is a very narrow/confined one. However, it's precisely because it's narrow/confined that it has a monumental power. I put my heart into creating music for this world with a narrow field of view. However, there is a part where Homura grasps the secret behind this world. So, for that part, I put in music that was a little wider in view.

For this work, when you talk about the climax, it would probably be the scene where the girls work together to save Homura. Kajiura wrote a new song, "Misterioso", as the insert song that will be played during that scene. For the song that Kalafina will sing, Tsuruoka's order was precisely "something that feels special!"

Kajiura says...
When we reach this scene, the brightness of this dream world had slowly scattered. However, in a scene where they work together and fight, Tsuruoka said that he wanted to let them "shine". And so this insert song was born. It's a song where it's fairly brimming with hope. I think that it was a moment, in this work, where they were shining the brightest.

Regarding the true meaning behind the use of music in this work,
Tsuruoka says...
It's really technical, but even for a scene that will take a bit of time if you draw the animation in detail, for example, when you think "I want to show it as a digest that is about 2 minutes long", insert songs and songs played during the show are extremely effective. Of course, it is also effective for scenes that you want to stand out, or for scenes where you want to highlight as "different from the other scenes".

However, Kajiura, who has continued to accurately fulfil orders thrown at her by Tsuruoka, had trouble with the "transformation scene" of the girls.

Kajiura says...
Up until now, I have never created what they call music for the transformation scene. I thought "What should I do~!" and borrowed various videos of transformation scenes to look at (laughs). Actually, this scene was the biggest challenge for me, and was probably the scene that took me the longest time. After delivering the song, in meeting director Shinbou and Tsuruoka-san, the first thing I asked was, "Is the transformation scene alright!?" (laughs).

Tsuruoka says...
Even though I've always given difficult orders where it's left in her hands (up to her), Kajiura-san has, without fail, cleanly returned them. After all, in this "Rebellion" movie, I've asked her to write music for "the universe is rewritten" a second time. In other words, I asked something difficult of her. Even though it is short, you'd normally be at a loss. The music for the "everyday life where something is off" after the world is rebuilt and the world became a one-package which was wonderful.

(TO BE CONTINUED...)

I uhh.. got tired and kinda want to go back to slaying monsters in Diablo and finding epic loot. So... I'll probably finish the second half soon. Just one and a half page left! And sorry it took so long for this first half. Had to go overseas for a bit.

Now, I've said that she explains why she abuses the mada dame yo melody, but whether or not you agree if she has explained why or whether that justifies their choice... well. I think it's still a bit lazy on their part, but can accept what they're trying to achieve since I did feel what they wanted me to feel the first time I watched it. Aside from "never get there", it wasn't until my second watch through that I noticed that she was abusing that melody that many times (I overlooked a few. I was watching the show and not actively listening to the music).

I've not read the booklet interview since my copy still hasn't arrived yet but I suspect that there is a bit of overlap. I myself do not completely like the Aniplex translation for the movie though (especially demon vs devil). As for the booklet translation, I'll take a look at the original and compare to see if there are any glaring mistakes... when my copy arrives.

Trivia! I think it was one of the Kirara Magica interviews with Shinbou. It was Shinbou who decided to let Kajiura write/Kalafina sing the insert song, so as to keep the Kajiura sound consistent throughout. Thank god he didn't give it to ClariS.
 
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^Thanks, and now that I listen to the music again (have been since watching the movie last night) I don't think it's really abused, like the song "swordland" was in SAO. Or Sis Puella. There are different versions of it, and there are songs that really stand out for me, like absolute configuration, I was waiting for this moment, you are here and experimentation. Now that I've watched the movie, it's hard not to imagine those scenes while listening to the music. Also I like the ClariS song in this movie, it just kind of felt out of place with Yuki's music. Yes, misterioso is more of a brighter song and Kimi no Gin as well, but this song was at the beginning after some instrumentals was played. So I don't know... I guess it didn't fit as well as the show theme did.
 
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Hatouchan said:
I myself do not completely like the Aniplex translation for the movie though (especially demon vs devil).
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Agreed. The subtitles for this movie didn't feel quite as polished as the ones for the TV-series, and by extension Beginnings and Eternal, as they reused the same translation. Aside from using "demon" when the devil-symbolism is practically staring one right in the face, I also don't like how the translations here include a common pet peeve of mine in terms of localization, which is... "Kaname-san" being translated as "Madoka" and such. Seriously, the TV-series translation didn't do this, so why are they doing it now? Hearing the character's family name being spoken and seeing their given name instead in the subtitles just takes me out of it. And it's like... the end of the movie even specifically calls attention to it with Homura first asking if she can call Madoka by her first name, and later telling Madoka to do the same with her... yet I'm pretty sure that conversation between them is the only time in the entire movie that the subtitles has anyone addressing someone else solely by their last name. Really, is the concept of addressing your friends by their last name such a foreign concept in the US that the translators deem it necessary to completely remove any instance of this happening?
 
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^I've seen a lot of animes subbed that way. It's just normal to call people you don't know by their last name in Japan, so it's the same as being called Ms. Kajiura in the states until they get to know her better, and then it's Yuki. (Though I'd be afraid to call her by her first name, it'd either be Sensei or Kajiura-san heh) That's just what I think.

Also just watched it again with my brother, it is just awesome, that's all I have to say. Oh and the animator really is a nut. I'm pretty sure this is what happens in my dreams, usually, but still. It's so hard to describe the animation to someone who hasn't seen it yet. (It reminds me of this very very disturbing cow commercial back when I was only about 5 and I remember it since it freaked me out. I am talking about the background stuff.) Anyways, I hope o get the Blu-ray soon, if I get this job.
 
Liana_Ilia said:
^I've seen a lot of animes subbed that way. It's just normal to call people you don't know by their last name in Japan, so it's the same as being called Ms. Kajiura in the states until they get to know her better, and then it's Yuki. (Though I'd be afraid to call her by her first name, it'd either be Sensei or Kajiura-san heh) That's just what I think.
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You're misunderstanding Lord Starfish. Lord Starfish is saying that the subs are not following the actual name being called. Homura with glasses will always say "Kaname-san" but the subs ignore that and translate it to Madoka. The same goes for first/last name order. If the audio has it as Kaname Madoka, don't swap it and write Madoka Kaname in the subs. It's weird as hell (Asian order ftw!).

I like paying attention to the way they address the others and themselves though.
It really tells you so much about their relationships and character.
Notice how Homura chooses to address everyone except Madoka by their family name, and occasionally full name like when she's being antagonistic. I think the only time she called someone else by name was at the end of episode 9, "Kyouko".

Horrible to lose all that in subs. That's why I picked up the language.
 
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Hatouchan said:
The same goes for first/last name order. If the audio has it as Kaname Madoka, don't swap it and write Madoka Kaname in the subs. It's weird as hell (Asian order ftw!).
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Well personally I'm less bothered by that though. I mean for one, I can actually see how using the Asian order might be confusing to some people, and I daresay you're very rarely going to come across any situation where the order of which a person's given name and family name are said is going to matter much at all... Then again, I've seen Japanese translations of Western material still retaining the Western name-order. I'm pretty sure the Japanese dub of Star Wars does not call the hero "Skywalker Luke" for example... But it's like, I'm just sorta indifferent to that practice. I can accept it being kept in Asian order, I can accept it being swapped around.
 
I was saying that the way I see it, is this is how Americans see them saying their first name, or given name. When someone uses their family name. That's what I think anyways. And that's why I've seen others subtitled that way, sorry for the confusion. But yeah, I like that as well where they only choose certain people to call by their first name. (It's a little awkward when I meet someone for the first time and they call me by my first name, like at the interview yesterday. But we don't have it that way here.)
 
http://www.cdjapan.co.jp/product/NEOBK-1635703

  • :nophoto:
BOOK
Puella Magi Madoka Magica the Movie: Rebellion Official Guide Book only you. (Manga Time KR Comics Forward Series)
Magica Quartet / Manga Time Kirara
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Kugayama said:
http://www.cdjapan.co.jp/product/NEOBK-1635703

  • :nophoto:
BOOK
Puella Magi Madoka Magica the Movie: Rebellion Official Guide Book only you. (Manga Time KR Comics Forward Series)
Click to expand...


God damn it. I just ordered Rebellion about an hour ago and didn't think to check for this on CDJapan. I paid with Paypal too so I can't even add it to my order :omg:.

Oh well. It'll probably turn up at a convention here soon enough. That's how I got my copies of You Are Not Alone and the Illustrated Book, at least.
 
So I received my copy of the BluRay yesterday... One of the extras is a slightly alternate version of the movie, featuring Chiwa Saito's first recording... Now, I only watched the ending, and it seems it's only the delivery of Homura's lines that is notably different in this version, but...
damn, the ending comes off as even more creepy in this version... She sounds plainly insane in this one.

Which I suppose could actually be evidence that she hasn't canonically lost her mind, seeing how if that was the intention, I don't see why they would discard the recording that actually comes off that way.

Also in this version the post-credits scene has no BGM. Instead we just hear Homura humming the movie's main leitmotif.
 
^A little interesting something I got from the AnimeJapan 2014 Madoka stage:
Kajiura actually told Saitou Chiwa that she liked the first take more/a lot.

I've not listened to it yet, myself. Still waiting for my copy... which I can't ship yet because I'm consolidating some stuff. Orz

I ordered the guidebook too, but that won't ship until 31st April after something else comes in stock either. Will post, assuming no one else does, if there's any interesting Kajiura related info.
 
Nisekoi crossover ? They have NOTHING in common apart from that there are girls on both series, but they are both enjoyable on their own.
 
george1234 said:
Nisekoi crossover ? They have NOTHING in common apart from that there are girls on both series, but they are both enjoyable on their own.
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Well they are both Shaft-anime directed by Shinbo with ClariS providing the opening.

Incidentally I continue to be baffled at just how completely unfitting Shinbo's style is for that series. I mean come on, it's a completely conventional romance comedy, why are the visuals so trippy?!
 
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