Appleseed Alpha Page #6

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We want it to be very much

creator-friendly, director-friendly...

...to really help them

realise their vision.

At the same time,

you know, make sure...

...that the title's aim in terms

of the commercial aspirations...

...you know, exposure,

you know, promotion and whatnot.

You know, all of that can work together

to support the film...

...the title that we're trying to make,

so...

That's how we're a little different

than other CG studios in Japan.

Mr. Takahashi has worked on...

...the movie score of Appleseed's

theatrical movies.

Up until this movie, the style of his

movie score has been orchestral...

...but this time we've discussed that

the music style should be...

...a little more personal to match...

...the tone of the story rather than...

...something grandiose.

At least we wanted to...

...start off the movie...

...with not-so dramatic sound.

So I think it was a little different.

It was completely different

from the other movies.

He told me to make it very minimal...

...and quiet with a European style...

...so I was actually surprised.

That was the style

he wanted to go with this time.

I found it very interesting, though.

First, I made a couple songs...

...as the main theme...

...of the movie...

...and he listened to them.

One of them was used...

...at the end of the opening scene.

I tackled it with rather quiet...

...European-style music...

...this time, compared to before.

Of course the music picks up steam...

...toward the end of the movie...

...but overall...

...the music style for this movie is...

...quiet with a European flare.

Every now and then...

...I run into a movie where

the music is standing out too much.

For example,

there's a touching scene...

...where I just want to simply

be moved...

...but the music is so overwhelming...

...that I just can't be moved.

I had such experiences before.

I just couldn't help feeling like

that's not how it's supposed to be.

I don't mean that...

...the music should...

...be passive...

...but I think it's important...

...that it's synchronised...

...with the scene.

Additionally we had Mr. Nakata...

...and others who have worked on

the music.

The signature sound of Appleseed...

...is definitely there, thanks to them.

I think the sense of

international feel is...

...very important in Appleseed...

...so we're always looking for

a Japanese artist...

...who's also known overseas...

...someone who's been talked about

a lot...

...and trendy...

...with futuristic visions.

We just couldn't think of anyone...

...other than Mr. Nakata

for this movie.

Just like Perfume...

...or Kyary Pamyu Pamyu...

...from the very beginning...

...Mr. Nakata's style...

...was completely different

from anything that came before.

He's brought something new

to the music scene.

I think he's someone...

...who can turn what's considered

subculture...

...into something major.

My directorial debut was

the first Appleseed movie...

...and I was blessed with

the opportunity to work with him.

I had already loved that type of music...

...so I was very curious to see...

...how we could collaborate

in the movie.

I enjoyed the experience very much...

...and think it turned out unique.

Some musicians...

...also told me that Appleseed...

...turned out to be

a very special project...

...for them as well.

Whenever we collaborate...

...with musicians...

...the results are always...

...unexpected and interesting.

I had a great time working

with him in this movie.

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