grunty
I have reached Yuki nirvana
Puella Magi Madoka Magica texts translated by ours truly G..GLE TRANSLATE.
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Puella Magi Madoka Magica Official Guidebook "with you" interview
from July 27, 2013
Music
Yuki Kajiura Interview
PROFILE Yuki Kajiura
Kajiura Yuki／Her recent major anime contributions include "Sword Art Online," "Fate/Zero," "PandoraHearts," and "Black Butler" (all as music composer). She also produces for Kalafina.
―― When did you first hear about the production of the theatrical film version of "Puella Magi Madoka Magica"?
I think the TV series had already finished by then. When I first heard a little about the theatrical film, I was told, "The two compilation films we'll be making before the new film will use the music from the TV series, so there won't be any new songs." But the next time I heard, it changed to, "We might have a few new songs written for you." And then, the time after that, it became, "There might be about 10 new songs..." (laughs). Then, when I went for a formal meeting, they said, "While using the music from the TV series, we'll have about 37 new songs..." and I was like, "Huh? That's a lot more!" (laughs). To be honest, the schedule for the compilation films was only enough for about 10 songs, so I clearly remember talking with Mori-san (Yasunori), who was a producer on the film, on the way home, feeling quite worried about whether we could actually finish it.
―― Please tell me about your music. At what point do you start composing a song?
Even if I understand the work, I have no idea what kind of music is needed until I receive the order, so everything depends on the order. However, since it's music for a compilation film, I thought it would be an extension of the TV series and would stay true to its original vision.
―― With that in mind, have you ever thought about trying something new or adding something new?
It wasn't my suggestion, but I composed several long pieces. The TV series "Puella Magi Madoka Magica" is an incredibly dense story with lots of dialogue and rapid scene changes, so there were hardly any requests for long pieces. For me, I had only ever composed music assuming that the scene would change or dialogue would be added midway through, so composing long pieces that fit the world of "Puella Magi Madoka Magica" was a very new and exciting experience.
―― How do you usually compose music?
I always carry a musical staff notebook with me. So, if an idea comes to me, I'll stop and write it down in the notebook. However, since you can't wait for spontaneous inspiration to come to you when creating a film score, I end up composing it while playing the piano or singing, forcing myself to come up with ideas from my head. Keyboard melodies tend to have too many notes, so for breathy instruments like flutes, it's easier to get the feel of it by singing "la la la la."
―― Are there any specific instructions for each song in the menu?
There were hardly any specific instructions for either the TV series or the movie. This time too, I was basically given free rein, and since about half of it was arrangements of music from the TV series, it went smoothly. What I found particularly interesting to create for the movie was the witch's music. Originally, in the TV series, we used two or three witch songs repeatedly, almost to the point of being repetitive, which created an interesting effect. However, if we played the same songs multiple times in the short running time of a movie, the audience would think, "Oh, this song again." So, we decided to increase the number of arranged versions of the witch's music and change the witch's music a little. As one example, during a music meeting for the movie, Inu Curry told me, "Actually, there are lyrics for all the witches," so I got those lyrics from Inu Curry, translated them into German, and put them to the witch's music. However, putting lyrics to all of them would be tedious, and the witch scenes are surprisingly short, so it's often difficult to properly hear the lyrics, so we ended up with just two songs. These are the two songs: the one about the Candy Witch who defeated Mami, and the one about the scene where Sayaka fights and says, "I can make the pain disappear." However, almost all of the music used in the other scenes where they fight witches has also been completely revamped.
―― What did you keep in mind when arranging the song?
Regarding the witch's music, during the meeting, I was told to "make it a bit like a musical," so I tried to keep that in mind, but it ended up being too cheerful. It's a little disappointing that I couldn't make it as much of a musical as I had hoped. Also, this is the difference between music for theatrical releases and music for television programs, but background music for television programs is meant to be reused, so you can't do anything too extreme. However, for theatrical releases, the music is only used in one or two scenes, so you can express emotions in a much more extreme way. That's why the arrangements for theatrical releases were completely tailored to the scene. For example, in a sad scene, the emotion of "sad!" is conveyed in a very easy-to-understand way.
―― Since this is a theatrical release, were sound equipment considerations taken into account?
Since movie theaters use 5.1ch surround sound, we remixed all the music for the TV series to match it. However, the 5.1ch environment varies greatly from theater to theater. So, if we did an extreme 5.1 mix, the sound would be completely different depending on the location. Therefore, we didn't do anything too detailed, and instead focused on how to expand the sound when mixing. Even so, it sounds completely different when you listen to it in 5.1ch. First of all, the separation between dialogue and music is excellent. The strings spread out beautifully, yet the dialogue stands out clearly, so you can create a more dramatic sound. I think that's the real charm of 5.1ch.
―― Please tell me about the theme song "Hikari Furu" (「ひかりふる」) for "[Part 2] Eternal." This song is based on the background music "Sagitta luminis" from the TV series, isn't it?
While new melodies are nice, since this is a compilation, I wanted to end it with a melody that would evoke nostalgia for those who watched the TV series. "Sagitta luminis" was the song that accompanied Madoka's final important scene, and when I tried adding Japanese lyrics to it, it fit beautifully. So I made a demo and consulted with the staff, and they decided to use this song as the ending theme. However, it's a pretty difficult melody because it wasn't originally created with the intention of adding lyrics. I feel a little bad for putting Kalafina through such a difficult task (laughs).
―― When you were trying to create the ending theme for the compilation episode using background music from the TV series, were there any other songs that were considered as candidates?
Actually, "Future" (「未来」) was also a candidate. We put Japanese lyrics to both songs and had the staff listen to them, and they decided that a ballad would be better, so "Hikari Furu" (「ひかりふる」) was chosen as the ending theme. However, they really liked "Future" (「未来」) as well, and it was adopted as a song in the film.
―― Come to think of it, "Future" (「未来」) originally had lyrics, didn't it?
The original lyrics weren't real words, but we added Japanese lyrics for the theatrical version. Songs created with made-up words tend to have fewer syllables, so it was a bit difficult to put Japanese lyrics to them.
―― At the end of "[Part 1] Beginnings," an arranged version of the TV series' ending theme "Magia" was also played.
Regarding "Magia[quattro]," I was asked, "Why don't we make a different arrangement?" and I replied, "If we're going to make a big change, how about adding some weird strings?" and they said OK (laughs). As a result, I think it's become a little scarier than before. Since it's going to be 5.1ch, we thought we could emphasize the sound of the strings.
―― The low notes of the cello and double bass leave a strong impression.
When considering how to create a different arrangement, I wanted to make sure it had a distinctly different feel, and I realized that strings were the easiest way to create that change. That's why I went for a mix where the strings really stand out, and strings are also great for creating an eerie, or rather, dissonant, feeling. Plus, even when you use dissonance with strings, it doesn't sound unpleasant, but it's easy to create a subtle sense of unease. In that sense, I think they were the most suitable choice.
―― How was it recording with Kalafina and the other vocalists?
We didn't re-record "Magia[quattro]" because the vocals are the same. "Future" (「未来」) and "Hikari Furu" (「ひかりふる」) weren't difficult to interpret, so they didn't seem to have any trouble at all. Everyone had watched all of *Puella Magi Madoka Magica* and understood the world of the work. I remember we carefully recorded "Hikari Furu," (「ひかりふる」) which was difficult in terms of key. They were singing along saying things like, "Is this going to be the last song? Ugh," and "That's unfair!" (laughs).
―― The second part ended with a preview of the new film. What kind of imagery was the song used in it intended to evoke?
Actually, I had already received the entire script for the new film when I was composing the music, so it was easy to create the music for the trailer. However, I wanted to avoid making a song that would describe the content of the new film. I didn't want to mislead people about the atmosphere of the film by leaning too far to the soft or scary side. So, I thought a melody that was both melancholic and a little cheerful would be best.
―― Were there any specific instructions?
We received a lot of suggestions, but all we knew about the trailer was that it would be "about a minute long" (laughs). In the end, we made it with a slightly dramatic feel, but still with the sense that it was an extension of "Puella Magi Madoka Magica." When I actually saw the video, I was really happy that it was made to match the music so well. It was quite a striking trailer, too. The visuals in the movie are so amazing that I completely forget to pay attention to music.
―― After actually watching the completed two-part theatrical film, were there any scenes that left a strong impression on you, or any songs that you felt were particularly well-received?
I had a feeling it was going well all along (laughs). The schedule was pretty tough, so the first time I saw the compilation films with all the music in place was at a preview screening. Normally, I'd be so focused on checking the music that I wouldn't be able to concentrate on the visuals the first time around, but this time, I was completely absorbed in the visuals! I forgot all about checking the music and just stared at it, and even cried (laughs). The visuals were simply overwhelming. Everything had been remade for the big screen, and it was sharp and clear, and the Inu Curry space was incredible. I was also thrilled by everyone's acting, and I was so stunned that I didn't think about checking the music (laughs). But that meant that the music didn't feel out of place, and I didn't feel like anything was missing, so I decided to think that I had managed to write music that could stand up to these visuals (laughs).
―― What kind of reactions did you get from fans after the compilation film was released?
Since it's a popular work, after its release I saw a lot of comments on Twitter and other platforms saying things like "It was fun" and "I ended up crying." I was also happy to receive so many comments about "Hikari Furu" (「ひかりふる」) and "Future." (「未来」) I believe "Future" (「未来」) was used without any prior announcement, so it seems the reaction was particularly big.
―― How is the work on the new edition going?
I was given a number of songs to include... and it's more than I expected (laughs). But I think it's a normal number for a new movie.
―― We can't hear the details yet, can we? (laughs) Well then, please give a message to the fans who are looking forward to the new episode.
I will do my best with all my heart and soul!
grumpy notes:
Puella Magi Madoka Magica Official Guidebook "only you" interview
from April 12, 2014
grumpy notes:
More:
(post 2 out of 2)
HARD SPOILERS WARNING
(post 2 out of 2)
Puella Magi Madoka Magica Official Guidebook "with you" interview
from July 27, 2013
「The songs in the theatrical version are perfectly matched to the scenes and are easy to understand.」
Music
Yuki Kajiura Interview
PROFILE Yuki Kajiura
Kajiura Yuki／Her recent major anime contributions include "Sword Art Online," "Fate/Zero," "PandoraHearts," and "Black Butler" (all as music composer). She also produces for Kalafina.
The music in the compilation film is an extension of the TV series.
―― When did you first hear about the production of the theatrical film version of "Puella Magi Madoka Magica"?
I think the TV series had already finished by then. When I first heard a little about the theatrical film, I was told, "The two compilation films we'll be making before the new film will use the music from the TV series, so there won't be any new songs." But the next time I heard, it changed to, "We might have a few new songs written for you." And then, the time after that, it became, "There might be about 10 new songs..." (laughs). Then, when I went for a formal meeting, they said, "While using the music from the TV series, we'll have about 37 new songs..." and I was like, "Huh? That's a lot more!" (laughs). To be honest, the schedule for the compilation films was only enough for about 10 songs, so I clearly remember talking with Mori-san (Yasunori), who was a producer on the film, on the way home, feeling quite worried about whether we could actually finish it.
―― Please tell me about your music. At what point do you start composing a song?
Even if I understand the work, I have no idea what kind of music is needed until I receive the order, so everything depends on the order. However, since it's music for a compilation film, I thought it would be an extension of the TV series and would stay true to its original vision.
―― With that in mind, have you ever thought about trying something new or adding something new?
It wasn't my suggestion, but I composed several long pieces. The TV series "Puella Magi Madoka Magica" is an incredibly dense story with lots of dialogue and rapid scene changes, so there were hardly any requests for long pieces. For me, I had only ever composed music assuming that the scene would change or dialogue would be added midway through, so composing long pieces that fit the world of "Puella Magi Madoka Magica" was a very new and exciting experience.
―― How do you usually compose music?
I always carry a musical staff notebook with me. So, if an idea comes to me, I'll stop and write it down in the notebook. However, since you can't wait for spontaneous inspiration to come to you when creating a film score, I end up composing it while playing the piano or singing, forcing myself to come up with ideas from my head. Keyboard melodies tend to have too many notes, so for breathy instruments like flutes, it's easier to get the feel of it by singing "la la la la."
New witch music unique to the theatrical version
―― Are there any specific instructions for each song in the menu?
There were hardly any specific instructions for either the TV series or the movie. This time too, I was basically given free rein, and since about half of it was arrangements of music from the TV series, it went smoothly. What I found particularly interesting to create for the movie was the witch's music. Originally, in the TV series, we used two or three witch songs repeatedly, almost to the point of being repetitive, which created an interesting effect. However, if we played the same songs multiple times in the short running time of a movie, the audience would think, "Oh, this song again." So, we decided to increase the number of arranged versions of the witch's music and change the witch's music a little. As one example, during a music meeting for the movie, Inu Curry told me, "Actually, there are lyrics for all the witches," so I got those lyrics from Inu Curry, translated them into German, and put them to the witch's music. However, putting lyrics to all of them would be tedious, and the witch scenes are surprisingly short, so it's often difficult to properly hear the lyrics, so we ended up with just two songs. These are the two songs: the one about the Candy Witch who defeated Mami, and the one about the scene where Sayaka fights and says, "I can make the pain disappear." However, almost all of the music used in the other scenes where they fight witches has also been completely revamped.
―― What did you keep in mind when arranging the song?
Regarding the witch's music, during the meeting, I was told to "make it a bit like a musical," so I tried to keep that in mind, but it ended up being too cheerful. It's a little disappointing that I couldn't make it as much of a musical as I had hoped. Also, this is the difference between music for theatrical releases and music for television programs, but background music for television programs is meant to be reused, so you can't do anything too extreme. However, for theatrical releases, the music is only used in one or two scenes, so you can express emotions in a much more extreme way. That's why the arrangements for theatrical releases were completely tailored to the scene. For example, in a sad scene, the emotion of "sad!" is conveyed in a very easy-to-understand way.
―― Since this is a theatrical release, were sound equipment considerations taken into account?
Since movie theaters use 5.1ch surround sound, we remixed all the music for the TV series to match it. However, the 5.1ch environment varies greatly from theater to theater. So, if we did an extreme 5.1 mix, the sound would be completely different depending on the location. Therefore, we didn't do anything too detailed, and instead focused on how to expand the sound when mixing. Even so, it sounds completely different when you listen to it in 5.1ch. First of all, the separation between dialogue and music is excellent. The strings spread out beautifully, yet the dialogue stands out clearly, so you can create a more dramatic sound. I think that's the real charm of 5.1ch.
I wanted to conclude the compilation with a meaningful ending.
―― Please tell me about the theme song "Hikari Furu" (「ひかりふる」) for "[Part 2] Eternal." This song is based on the background music "Sagitta luminis" from the TV series, isn't it?
While new melodies are nice, since this is a compilation, I wanted to end it with a melody that would evoke nostalgia for those who watched the TV series. "Sagitta luminis" was the song that accompanied Madoka's final important scene, and when I tried adding Japanese lyrics to it, it fit beautifully. So I made a demo and consulted with the staff, and they decided to use this song as the ending theme. However, it's a pretty difficult melody because it wasn't originally created with the intention of adding lyrics. I feel a little bad for putting Kalafina through such a difficult task (laughs).
―― When you were trying to create the ending theme for the compilation episode using background music from the TV series, were there any other songs that were considered as candidates?
Actually, "Future" (「未来」) was also a candidate. We put Japanese lyrics to both songs and had the staff listen to them, and they decided that a ballad would be better, so "Hikari Furu" (「ひかりふる」) was chosen as the ending theme. However, they really liked "Future" (「未来」) as well, and it was adopted as a song in the film.
―― Come to think of it, "Future" (「未来」) originally had lyrics, didn't it?
The original lyrics weren't real words, but we added Japanese lyrics for the theatrical version. Songs created with made-up words tend to have fewer syllables, so it was a bit difficult to put Japanese lyrics to them.
―― At the end of "[Part 1] Beginnings," an arranged version of the TV series' ending theme "Magia" was also played.
Regarding "Magia[quattro]," I was asked, "Why don't we make a different arrangement?" and I replied, "If we're going to make a big change, how about adding some weird strings?" and they said OK (laughs). As a result, I think it's become a little scarier than before. Since it's going to be 5.1ch, we thought we could emphasize the sound of the strings.
―― The low notes of the cello and double bass leave a strong impression.
When considering how to create a different arrangement, I wanted to make sure it had a distinctly different feel, and I realized that strings were the easiest way to create that change. That's why I went for a mix where the strings really stand out, and strings are also great for creating an eerie, or rather, dissonant, feeling. Plus, even when you use dissonance with strings, it doesn't sound unpleasant, but it's easy to create a subtle sense of unease. In that sense, I think they were the most suitable choice.
―― How was it recording with Kalafina and the other vocalists?
We didn't re-record "Magia[quattro]" because the vocals are the same. "Future" (「未来」) and "Hikari Furu" (「ひかりふる」) weren't difficult to interpret, so they didn't seem to have any trouble at all. Everyone had watched all of *Puella Magi Madoka Magica* and understood the world of the work. I remember we carefully recorded "Hikari Furu," (「ひかりふる」) which was difficult in terms of key. They were singing along saying things like, "Is this going to be the last song? Ugh," and "That's unfair!" (laughs).
―― The second part ended with a preview of the new film. What kind of imagery was the song used in it intended to evoke?
Actually, I had already received the entire script for the new film when I was composing the music, so it was easy to create the music for the trailer. However, I wanted to avoid making a song that would describe the content of the new film. I didn't want to mislead people about the atmosphere of the film by leaning too far to the soft or scary side. So, I thought a melody that was both melancholic and a little cheerful would be best.
―― Were there any specific instructions?
We received a lot of suggestions, but all we knew about the trailer was that it would be "about a minute long" (laughs). In the end, we made it with a slightly dramatic feel, but still with the sense that it was an extension of "Puella Magi Madoka Magica." When I actually saw the video, I was really happy that it was made to match the music so well. It was quite a striking trailer, too. The visuals in the movie are so amazing that I completely forget to pay attention to music.
―― After actually watching the completed two-part theatrical film, were there any scenes that left a strong impression on you, or any songs that you felt were particularly well-received?
I had a feeling it was going well all along (laughs). The schedule was pretty tough, so the first time I saw the compilation films with all the music in place was at a preview screening. Normally, I'd be so focused on checking the music that I wouldn't be able to concentrate on the visuals the first time around, but this time, I was completely absorbed in the visuals! I forgot all about checking the music and just stared at it, and even cried (laughs). The visuals were simply overwhelming. Everything had been remade for the big screen, and it was sharp and clear, and the Inu Curry space was incredible. I was also thrilled by everyone's acting, and I was so stunned that I didn't think about checking the music (laughs). But that meant that the music didn't feel out of place, and I didn't feel like anything was missing, so I decided to think that I had managed to write music that could stand up to these visuals (laughs).
―― What kind of reactions did you get from fans after the compilation film was released?
Since it's a popular work, after its release I saw a lot of comments on Twitter and other platforms saying things like "It was fun" and "I ended up crying." I was also happy to receive so many comments about "Hikari Furu" (「ひかりふる」) and "Future." (「未来」) I believe "Future" (「未来」) was used without any prior announcement, so it seems the reaction was particularly big.
―― How is the work on the new edition going?
I was given a number of songs to include... and it's more than I expected (laughs). But I think it's a normal number for a new movie.
―― We can't hear the details yet, can we? (laughs) Well then, please give a message to the fans who are looking forward to the new episode.
I will do my best with all my heart and soul!
Puella Magi Madoka Magica Official Guidebook "only you" interview
from April 12, 2014
Music
Yuki Kajiura
PROFILE
Kajiura Yuki／Her recent major anime contributions include "Sword Art Online," "the Garden of sinners: Future Gospel," and "PandoraHearts" (all as music composer). She also produces for Kalafina.
―― When you began composing for this new film, who did you talk to first, and what kind of discussions did you have?
As is always the case with music meetings for "Puella Magi Madoka Magica," I'm taking the time to discuss the image of each song with director Shinbo, sound director Tsuruoka-san, Inu Curry-san, and the other staff members.
―― Approximately how many songs were requested, and what kinds of songs were they? Please also share any interactions you had with Tsuruoka-san.
There were about 60 songs in total, and the requests for music varied greatly depending on the scene. For the background music with lyrics, the lyrics were already included in the script and storyboards, so I composed the music based on those. Tsuruoka-san's music menus were written very clearly from the beginning, specifying the scenes, so I think the meetings went smoothly.
―― Since this is a new theatrical film, are there any new approaches or additions/changes from the TV series?
The TV series is structured in 30-minute segments, so to make it easier to create a sense of rhythm and contrast within those 30 minutes, I consciously try to incorporate a certain degree of "catchiness" even in serious music. Theatrical releases are basically two hours long and they're viewed in a closed space, so as long as you have the musical climaxes right, you can bring it down nicely when appropriate, making the structure easier. In terms of instrumentation, I wanted to create a sense of nostalgia and melancholy in the initial world, so I introduced the accordion, which I didn't use in the TV series.
―― Please tell us about the opening scene where Nightmare appears and the song that plays during it.
The appearance of Nightmare was included in the storyboards as a ballet scene, and the request was for a waltz, so I created music for the dance. For the insert song, both the lyrics and the duration were specified, so I wanted to use all of the lyrics, and it was a bit of a struggle to fit everything within the given time.
―― Please tell me about the magical girls' transformation scenes.
The transformation scenes were created with the storyboards already completed, so matching each character's pose with the changes in the music was probably the most time-consuming part of the entire production. I had originally intended to use a rhythmic song, but Mami's part was depicted as a very elegant dance, so I made that section a bit more ballet-inspired, like an overture.
―― Please tell me about the tea party scene during the ritual to purify the Nightmare.
The request for the tea party scene was "in rap." At first, I tried a hardcore rap, but it was too heavy, so I wanted to make it a rap that felt more like "Puella Magi Madoka Magica," and incorporated some slightly mysterious bell phrases.
―― Please tell me about the fight scene between Mami and Homura.
I felt that Mami-san and Homura-chan's fight scene was, in a sense, the best place in the story to strongly showcase the "battle" element, so I focused on creating a song that would get the viewers thoroughly excited.
―― Please tell me about the scene where Homura becomes a witch.
Regarding the music for Homura's transformation into a witch, when I received the menu, there were various directions to go in, and it was a scene that I initially marked with a red circle because I knew I had to be very careful about how the music would be handled. So, when we met, I asked Director Shinbo about the direction of the music, and he requested "beautiful music," so I tried to create it in that direction.
―― Please tell me about the scene after Homura's alteration of the world.
The epilogue was requested from the beginning to be an arrangement of the insert song from the start "Not yet," (「まだダメよ」) so this is the arrangement of that song.
―― Please tell me about the scene where Homura shows Madoka around after she transfers to the school.
It's a beautiful world, yet somehow unnatural. Therefore, in my music, even within peaceful sounds, I consciously try to incorporate a slight unnaturalness, a subtle sense of unease.
―― Please tell us about the lyrics and composition of the songs featured in the film, "misterioso," and the ending theme song, "Kimi no Gin no Niwa." (「君の銀の庭」)
"misterioso" is simply gorgeous. Although it's not included in the CD version, I incorporated a melody reminiscent of Sayaka-chan's theme into a scene in the theatrical version of "misterioso." Regarding the ending, I wasn't given any specific instructions and was left to my own devices, but my primary goal was to avoid an ending that would suggest to the viewers the answer to Homura-chan's conclusion. It took me quite a while to decide on the musical style and direction. I wanted a song that neither affirms nor denies her actions, and while I usually write openings and endings from the characters' subjective perspectives, this time I tried to depict it from a more overarching viewpoint. I hoped it would reflect the audience's perspective, rather than that of the characters.
―― Please tell us about any difficulties you encountered during the new compilation, any songs or scenes that you found particularly rewarding, or any memorable events.
The music for the first half was relatively easy to put together, but I think the second half was where I had to think things through the most. I usually start by structuring the general flow of the music's tension, but I had to revise many songs multiple times because I felt they were too sad or too emotional in relation to the next scene. Especially in the second half, I don't think everyone watching will follow the same emotional path, so I tried to be careful not to guide the emotions too much with the music, and instead leave a certain degree of freedom for the audience.
―― Do you have any impressions of watching the movie on the big screen, or any thoughts or feelings you have looking back on?
Although I create the music to perfectly match the visuals, the production stage is still based on storyboards, so when I first saw the finished product, I was simply captivated by the power of the visuals and direction. I am truly honored and happy to have been able to compose the music for this series, and for this new installment. I can only hope that the music complements the work.
Yuki Kajiura
PROFILE
Kajiura Yuki／Her recent major anime contributions include "Sword Art Online," "the Garden of sinners: Future Gospel," and "PandoraHearts" (all as music composer). She also produces for Kalafina.
―― When you began composing for this new film, who did you talk to first, and what kind of discussions did you have?
As is always the case with music meetings for "Puella Magi Madoka Magica," I'm taking the time to discuss the image of each song with director Shinbo, sound director Tsuruoka-san, Inu Curry-san, and the other staff members.
―― Approximately how many songs were requested, and what kinds of songs were they? Please also share any interactions you had with Tsuruoka-san.
There were about 60 songs in total, and the requests for music varied greatly depending on the scene. For the background music with lyrics, the lyrics were already included in the script and storyboards, so I composed the music based on those. Tsuruoka-san's music menus were written very clearly from the beginning, specifying the scenes, so I think the meetings went smoothly.
―― Since this is a new theatrical film, are there any new approaches or additions/changes from the TV series?
The TV series is structured in 30-minute segments, so to make it easier to create a sense of rhythm and contrast within those 30 minutes, I consciously try to incorporate a certain degree of "catchiness" even in serious music. Theatrical releases are basically two hours long and they're viewed in a closed space, so as long as you have the musical climaxes right, you can bring it down nicely when appropriate, making the structure easier. In terms of instrumentation, I wanted to create a sense of nostalgia and melancholy in the initial world, so I introduced the accordion, which I didn't use in the TV series.
―― Please tell us about the opening scene where Nightmare appears and the song that plays during it.
The appearance of Nightmare was included in the storyboards as a ballet scene, and the request was for a waltz, so I created music for the dance. For the insert song, both the lyrics and the duration were specified, so I wanted to use all of the lyrics, and it was a bit of a struggle to fit everything within the given time.
―― Please tell me about the magical girls' transformation scenes.
The transformation scenes were created with the storyboards already completed, so matching each character's pose with the changes in the music was probably the most time-consuming part of the entire production. I had originally intended to use a rhythmic song, but Mami's part was depicted as a very elegant dance, so I made that section a bit more ballet-inspired, like an overture.
―― Please tell me about the tea party scene during the ritual to purify the Nightmare.
The request for the tea party scene was "in rap." At first, I tried a hardcore rap, but it was too heavy, so I wanted to make it a rap that felt more like "Puella Magi Madoka Magica," and incorporated some slightly mysterious bell phrases.
―― Please tell me about the fight scene between Mami and Homura.
I felt that Mami-san and Homura-chan's fight scene was, in a sense, the best place in the story to strongly showcase the "battle" element, so I focused on creating a song that would get the viewers thoroughly excited.
―― Please tell me about the scene where Homura becomes a witch.
Regarding the music for Homura's transformation into a witch, when I received the menu, there were various directions to go in, and it was a scene that I initially marked with a red circle because I knew I had to be very careful about how the music would be handled. So, when we met, I asked Director Shinbo about the direction of the music, and he requested "beautiful music," so I tried to create it in that direction.
―― Please tell me about the scene after Homura's alteration of the world.
The epilogue was requested from the beginning to be an arrangement of the insert song from the start "Not yet," (「まだダメよ」) so this is the arrangement of that song.
―― Please tell me about the scene where Homura shows Madoka around after she transfers to the school.
It's a beautiful world, yet somehow unnatural. Therefore, in my music, even within peaceful sounds, I consciously try to incorporate a slight unnaturalness, a subtle sense of unease.
―― Please tell us about the lyrics and composition of the songs featured in the film, "misterioso," and the ending theme song, "Kimi no Gin no Niwa." (「君の銀の庭」)
"misterioso" is simply gorgeous. Although it's not included in the CD version, I incorporated a melody reminiscent of Sayaka-chan's theme into a scene in the theatrical version of "misterioso." Regarding the ending, I wasn't given any specific instructions and was left to my own devices, but my primary goal was to avoid an ending that would suggest to the viewers the answer to Homura-chan's conclusion. It took me quite a while to decide on the musical style and direction. I wanted a song that neither affirms nor denies her actions, and while I usually write openings and endings from the characters' subjective perspectives, this time I tried to depict it from a more overarching viewpoint. I hoped it would reflect the audience's perspective, rather than that of the characters.
―― Please tell us about any difficulties you encountered during the new compilation, any songs or scenes that you found particularly rewarding, or any memorable events.
The music for the first half was relatively easy to put together, but I think the second half was where I had to think things through the most. I usually start by structuring the general flow of the music's tension, but I had to revise many songs multiple times because I felt they were too sad or too emotional in relation to the next scene. Especially in the second half, I don't think everyone watching will follow the same emotional path, so I tried to be careful not to guide the emotions too much with the music, and instead leave a certain degree of freedom for the audience.
―― Do you have any impressions of watching the movie on the big screen, or any thoughts or feelings you have looking back on?
Although I create the music to perfectly match the visuals, the production stage is still based on storyboards, so when I first saw the finished product, I was simply captivated by the power of the visuals and direction. I am truly honored and happy to have been able to compose the music for this series, and for this new installment. I can only hope that the music complements the work.
More:
- October 12, 2013's Madoka Magica Pia magazine has an interview with Yuki Kajiura,
but I only saw photos here: https://wiki.puella-magi.net/Puella_Magi_Madoka_Magica_Pia
(Shit to OCR but someone who knows JP could probably read the first page just fine... Maybe even I could... I'll try at some point.) - April 2, 2014's Madoka Magica movie Rebellion blu-ray limited edition booklet has a Yuki Kajiura interview,
translated here: https://wiki.puella-magi.net/Rebellion_Material_Book#Yuki_Kajiura_(Music) - September 27, 2021's Madoka Magica 10th Anniversary Book 2 features an interview with Yuki Kajiura & Yota Tsuruoka,
but I do not have it in decent quality as of now.
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