We had a high level of mutual trust, especially since it was a thrilling project where we were working simultaneously with the original work. The three of us, Director Yasuhiro Irie and Sound Director Masafumi Mima, worked together very smoothly and professionally. How did you work with Director Yasuhiro Irie in creating the music for the series? It was a thrilling experience, especially towards the second half, as the original story was written at the same time as the animation, which was a new experience for me. Instead, I carefully read the original work and created music that flowed through the story from scratch. I didn’t listen to any of the previous works to avoid having any sort of preconceived notions, nor did I end up really referencing them in my music. What was your experience with Fullmetal Alchemist prior to composing music for Brotherhood? Did you read the manga or watch the original 2003 series? And this work allowed me to then take the next step in my career. It was a work in which I was able to express everything I had done up to that point. It is definitely an epoch-making work for me, which I have only done a few times in my career. Anime typically has a longer duration and, therefore, capacity, for more music than live-action, so I think of more realistic expressions and original storytelling through music.Ĭan you describe your experience being asked to compose the music for Fullmetal Alchemist: Brotherhood? Did the project have an impact on your career as a whole? In live-action dramas and movies, there is a symbiosis between the dialogue and sound effects. What differences are there in composing music for anime versus live-action (if any)? You’ve also worked on a lot of live-action dramas and TV shows. I enjoyed the effort to make my dreams come true, my calling, so to speak. At that time, I saw a straight path to my future, and I never changed my mind. When I was in junior high school, I knew I wanted to do something in the world of music – classical, jazz, pop, soundtrack – I wanted to be in an environment where I could be passionate about all kinds of music. How did you first get into composing music?
#Fullmetal alchemist brotherhood soundtrack intro series#
We spoke with Senju about how he approached creating the music for the 2009 series, the difference between composing music for live-action series and anime, his friendship with JoJo's Bizarre Adventure creator Hirohiko Araki and more!
Senju, born in Tokyo in 1960, studied composition at the Tokyo University of the Arts and would go on to compose some of Japan's most well-known tracks, including the main themes for the 2012 version of Iron Chef, the score for Mobile Suit Victory Gundam and many more live-action and anime series. Milan Records, in coordination with Aniplex and Sony Music, is now releasing the all eleven original Fullmetal Alchemist soundtracks for both series for the first time outside of Japan, which you can now listen to right here! To celebrate the release, Crunchyroll had a chance to speak with Fullmetal Alchemist: Brotherhood composer Akira Senju himself! Across each series and the movies, composers Michiru Oshima ( Fullmetal Alchemist and Fullmetal Alchemist: The Conqueror of Shamballa), Akira Senju ( Fullmetal Alchemist: Brotherhood) and Taro Iwashiro ( Fullmetal Alchemist: The Sacred Star of Milos) captured the Elric brothers' grand journey into the world of Alchemy, the state government and secret powers that worked behind the scenes.
The Fullmetal Alchemist series is known for its wide-ranging and emotional music, both from the original 2003 Fullmetal Alchemist series to the 2009 revival Fullmetal Alchemist: Brotherhood.
0 kommentar(er)
