{"id":394256,"date":"2022-01-14T18:00:00","date_gmt":"2022-01-14T15:00:00","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/exploring-music-in-belle-with-ludvig-forssell-interview\/"},"modified":"2022-01-14T18:00:00","modified_gmt":"2022-01-14T15:00:00","slug":"exploring-music-in-belle-with-ludvig-forssell-interview","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/exploring-music-in-belle-with-ludvig-forssell-interview\/","title":{"rendered":"#Exploring Music in BELLE with Ludvig Forssell (Interview)"},"content":{"rendered":"

“#Exploring Music in BELLE with Ludvig Forssell (Interview)<\/strong>”<\/p>\n

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BELLE <\/span><\/i>is a modern take on <\/span>The Beauty and the Beast<\/span><\/i> with an emphasis on musical elements. The <\/span>soundtracks<\/span><\/a> are incredible and unique as the songs have both Japanese and English lyrics. We had the opportunity to talk to Ludvig Forssell, one of the composers involved with the soundtrack alongside lead composer and arranger Taisei Iwasaki (<\/span>Blood Blockade Battlefront<\/span><\/i>) and Yuta Bandoh.<\/span><\/span><\/p>\n\n

How were you brought on to work on the music for <\/b>BELLE?\u00a0<\/i><\/b><\/span><\/p>\n

Milan Records introduced me to Taisei Iwasaki just a few years ago. We hit it off and got to be good friends fairly quickly, but then COVID happ<\/a>ened. I was just doing my job best, whatever from home. One day Iwasaki-san calls me up out of the blue and he\u2019s like, \u201cI\u2019m doing this thing. It\u2019s an anime<\/a> film for Mamoru Hosoda.\u201d And I\u2019m like, \u201cOkay, I\u2019m in,\u201d the second the offer was made to join him on the project. I\u2019ve been a big fan of Hosoda-san since forever. My favorite would be <\/span>Summer Wars,<\/span><\/i> but I love all his films.\u00a0<\/span><\/span><\/p>\n

Iwasaki-san gave me a basic summary of the plot and idea of the film. I was super excited to then find out that the movie would have a big focus on music and that there would be theme songs.\u00a0<\/span><\/p>\n

I\u2019ve never really been super into or wanted to do something like a musical. But the film was about people who do music. And we\u2019re doing Belle\u2019s songs, things that she would, if she existed in the real world, actually produce and record.<\/span><\/p>\n

I literally did the first song that was ever approved for the entire film. So I was super happy to be able to kind of set the tone in a way with that even though Iwasaki-san was like the man behind the helm and steering the ship, making sure that everyone involved was getting it right.\u00a0<\/span><\/p>\n

\u00a0<\/p>\n

With anime music composition there\u2019s two distinct styles. One is film scoring where it\u2019s already animated and then you write the music. The other is writing for a particular mood and feeling. What was the approach for <\/b>BELLE<\/i><\/b>?<\/b><\/span><\/p>\n

Like you mentioned, there are basically two major ways people approach writing music for anime. Usually, for an anime series<\/a>, you have a list of different styles of songs or emotions that they want to convey until you start writing music before there\u2019s any picture. The other would be like scoring a picture with this film.<\/span><\/p>\n

Especially since we\u2019re talking about songs, the first song that I wrote was called <\/span>Gales of Song<\/span><\/i>. It was more about focusing on the song itself rather than how it was going to fit the picture. If anything, they [Studio Chizu] wanted to have that song and then do the animation rather than do it the other way around.\u00a0<\/span><\/span><\/p>\n

But in general<\/a>, for the film, we would score a picture, but I started out with just the storyboard.\u00a0<\/span><\/p>\n