Staff Interview
The background music speaks for Shirou's feelings, and the theme song speaks for Sakura's feelings.
Music
YUKI KAJIURA
Yuki kajiura
[Profile] Composer, lyricist, arranger, and music producer. As a composer, she has worked on anime soundtracks such as the theatrical films "the Garden of sinners," "Fate/Zero," and "Demon Slayer." For drama soundtracks, she has worked on the NHK morning drama "Hanako to Anne," among others.
Putting Sakura's voice into Aimer-san's song
―― Kajiura-san, you have been involved in the production of the background music and theme song for [HF] since the first chapter. Now that you have finished production up to the third chapter, how do you feel?
The game had such a thoroughly developed world that it made me quite sad to think that I wouldn't be able to play in that world anymore. For several years, while creating all three chapters, [HF] was constantly on my mind. Even when I wasn't working on music production, the realm of [HF] was still there in my head, and I kept thinking about what the next chapter might be like. So, it makes me sad to think that I won't be using this realm anymore.
―― In [HF], Kajiura-san composed over 100 background music tracks across all three chapters. What was the overall concept behind the background music?
During our music meetings, Director Sudo (Tomonori) often said, "This work is told from Shirou Emiya's perspective." The background music is basically created to reflect Shirou's feelings. For example, when he faces a strong enemy, instead of adding sound to the enemy's feelings, the music expresses how strong and frightening the enemy is from Shirou's point of view.
―― How are the changes in Sakura Matou's feelings expressed through music?
I wanted to express Sakura's feelings through the theme song. Although my own interpretation is mixed in, I wrote the lyrics as if they were Sakura's lines. I think it was also a big factor that Aimer-san had already been chosen to sing the theme song. Her voice is the kind that penetrates into the heart, so I thought it would be best if she sang about Sakura's feelings and deeply moved the hearts of those who listen.
―― The theme song is also an important piece in expressing the drama of this work.
I was fortunate enough to be given the opportunity to create the theme songs for all three chapters, so I basically based the background music for each chapter on the melody of the theme song. By using variations on the theme song melody—making it brighter, darker, changing the tempo—in the film, the audience gradually became familiar with the melody. When the theme song played at the end, even though it was the first time they had heard the song, the melody was ingrained in their minds—a unique cinematic effect.
―― The melody of the theme song for the first chapter, "Hana no Uta" (Flower Song), was used in the opening of the first chapter with an operatic arrangement, wasn't it?
The "Fate" series is dramatic, featuring various heroes whose destinies intertwine. Because it's an operatic work, I feel it's a project where I can express the world of opera, which I've always loved, through music. In the opening of the first chapter, I used the melody of "Hana no Uta" in triple time, allowing me to fully incorporate operatic expression, which was incredibly enjoyable from a music composer's perspective. Though, perhaps I shouldn't be saying "enjoyable" given the content of the work (laughs).
―― The theme song for the second chapter, "I beg you," was a song that depicted Sakura's downfall.
The melody of this song is basically designed to sound like it's "falling." Even the chorus has a melody that sounds like it's going to fall.
―― The theme song for the third chapter, "Haru wa Yuku" (Spring is Passing), became the song that concluded [HF].
It plays at the end of the main story, but the timing of when the song comes in was very difficult. Where to put the intro? How long should I wait after the intro before starting to sing? Where to put the chorus? I created it while adjusting the timing of all those things. It shouldn't be too happy, and it shouldn't be too sad. It should be just right, leaving a little bit of unresolved feeling, a little bit of uncertainty. Also, the phrase "those days were like a dream" is in "Hana no Uta," and I hope that listeners will feel that the dream time in "Hana no Uta" was only in the past, but in "Haru wa Yuku," they will feel a sense of anticipation that it might be in the future. I think this was a clever device that could only be used in a trilogy.
Action scenes structured like a suite
―― One of the appealing aspects of [HF] was the action scenes in each chapter. In these scenes, the background music plays a central role in enhancing the visuals, but what approach did you take in each case?
In [HF], they create long scenes that rely heavily on background music. Having scenes like that is very rewarding. The battles in the first chapter (Lancer vs. True Assassin) and the second chapter (Berserker vs. Saber Alter) were created in a suite-like style, tailored to the scene changes and the entrances and exits of characters. When there are cool scenes with great direction and dialogue, I want the music to enhance them, so I carefully adjust the rhythm to match the camera work, increasing the volume and creating a sense of speed. For the Rider fight in the third chapter, I focused on showcasing the fight with a sense of speed, and then created music that would release the audience with a feeling of "Get lost in the moment!" when the final Noble Phantasm is used.
―― Chapter three also depicts the confrontation between Sakura and Rin Tohsaka. This was another highlight of the background music.
Regarding Rin, there's been a key theme since the very first chapter. That was, "To Sakura, Rin is a hero." When Rin appeared in the library in the second chapter, we used overly heroic music. In the third chapter, when Rin appears before Sakura in the Great Cavern, we used music that sounds exactly like a hero's entrance, making it deliberately dazzling.
―― In Chapter Three, Kirei Kotomine becomes a key character in the story. What kind of music were you thinking of composing for him?
In filmmaking, there's a process called film scoring, where background music is created to match the visuals. When I received the footage for the third chapter, I was unexpectedly struck by Kirei's battle scene in the old church. I was certain that ufotable would create a beautiful scene with Kirei chanting atop the church, so I decided to give it my all. I wanted to create a chorus that wasn't evil, nor pure, but simply descending from above, conveying a sense of "power," and that's how I composed the music for this scene. In the final scene where Shirou and Kirei are fighting, I used only the chorus from this church scene. I think Kirei Kotomine is a very pure person in a certain sense. He's so pure that you can't reason with him. I wanted to express that feeling through music.
―― Of the background music in [HF], which songs left the biggest impression on you?
In the second chapter...the so-called love scene. I felt I shouldn't decide the direction of the music here on my own, so I checked with the director, "Is it okay if I make it extremely sad?" He gave me the OK, so even though she has achieved her desires, the background music is extremely sad. With [HF], I felt that the viewers needed to sympathize with Sakura, to feel sorry for her. It is precisely because there is a sense of impending tragedy that her pure feelings come through. To convey that purity, I try not to make it seem too suspicious or too happy.
―― What impression did you have of the character Sakura, Kajiura-san?
Sakura is very real. The other characters in the "Fate" series are somewhat symbolic heroes and heroes, but Sakura gets jealous, she gets sulky, she's very human. She's a girl who's similar to us, so in a way, she's very easy to understand. You can kind of understand why she might say hysterical things or want to take extreme actions. What would happen if such a mentally fragile and weak girl suddenly gained such great power? [HF] was a work that was depicted from that perspective, so I created the music with a strong emotional attachment to it.
―― What were your impressions after watching the completed [HF] trilogy?
When I'm creating background music for a film score, I end up memorizing all the lines and the pauses between scenes. That's why when I watch a preview screening, I find myself watching it with the feeling of confirming, "This is where it should get exciting, okay, it's exciting now." I can only truly enjoy the film after I've forgotten a lot about it. The third chapter was released quite a while after it was finished, so when I actually went to the theater to see it, I was able to watch it with great emotion. I felt a sense of accomplishment when I was able to say goodbye to Sakura, thinking, "Be happy."
).
Might be the 'suite' described here:
15 minute image suite just based on the novel??