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How does Yoko Kanno with direc...
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How does Yoko Kanno with directors?

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Sep 8, 2016 8:44 PM
#1
RainbowBuffalo21
Offline
Jun 2015
14
As an aspiring filmmaker, I wish to work with Kanno when I make my first legit professional film. There are things I have to do of course like learn Japanese(already on it), have a good vision on what a movies' style and tone should be, find connections, badass screenplay writing and directing skills, getting talented actors and actresses, etc. The thing that bugs me right now is how to communicate with a music composer, especially a talented one like Yoko Kanno. I've read interviews on her on how she appoarches shows and films. Here's a quote from an interview she did with Red Bull. ""As a result of our council meetings, we have come up with a piece that’s positively above average.” These types of projects rarely interest me. It may not be democratic but I’d much rather be asked to provide music for crazy people who come up with crazy projects. Works which express taboos within the human psyche outright, or works which express thoughts and habits of the producer.". I get what she is trying to say, but I still am not too sure how to do it. I've read articles how to work with composers and some of them to not let composers have too much freedom. Yoko Kanno seems to work with freedom without having to be told which genre of music should be in a scene. Like how the movie Blood in your Eyes is a horror film, yet the music is more on the side of lots of music that is more fantasy and modern action movie like than horror like or how Macross Plus is a mecha show, yet the music is very mystical, trippy, and something that came straight out of period piece film in ancient Rome. Do I just give her the script and the storyboard and let her do her thing or there is more to it? This can also to apply to any talented film composer that can make amazing soundtracks.
Sep 8, 2016 8:58 PM
#2
Ringo-san

Offline
Mar 2016
77
>thinking Yoko Kanno would ever collaborate with a no-name director with no experience doing anything

Good luck, how she makes music for a film is the least of your worries.
Ringo-sanSep 8, 2016 9:01 PM
Sep 8, 2016 9:01 PM
#3
Ckan

Offline
Mar 2008
24335
That was a pretty good interview, actually.

For those who might be interested: http://daily.redbullmusicacademy.com/2014/11/yoko-kanno-interview
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Sep 8, 2016 9:53 PM
#4
RainbowBuffalo21
Offline
Jun 2015
14
Ringo-san said:
>thinking Yoko Kanno would ever collaborate with a no-name director with no experience doing anything

Good luck, how she makes music for a film is the least of your worries.


Don't get me wrong, I'm not gonna hire Yoko Kanno to make music for a 5-10 minute short film on YouTube. I'm gonna save up to buy me a good camera, equipment, props, etc. Enter them in film festivals, make a name for myself, get better at it, move to L.A. for film school to help improve my directing and writing, make plenty of indie films, enter them in film festivals, put more of my name out for the public. Do internships with Warner Bros and Annapurna Pictures, have a job to hustle and hopefully get the opportunity to make my first legit film with a wide release. Also,Dan Trachtenberg was a no-name to the general public, only directing a few commercials and a short film on YouTube before directing 10 Cloverfield Lane(fucking awesome movie) and got Bear McCeary(The Walking Dead, God of War) to do music for the film and the score was fucking awesome. I've been told in film class that if you wanna work with someone you dream of working with, make a name for yourself.
Sep 8, 2016 9:56 PM
#5
removed-user
Offline
Jul 2018
561791
you have big plans buddy, probably too big
Sep 8, 2016 9:59 PM
#6
RainbowBuffalo21
Offline
Jun 2015
14
Darekmhn1 said:
you have big plans buddy, probably too big


Gotta start small first before making it to the big leagues. That came from personal experience.
Sep 8, 2016 10:04 PM
#7
RainbowBuffalo21
Offline
Jun 2015
14
I forgot to put *work in the title. My bad.
Sep 9, 2016 2:45 AM
#8
UpperCat

Offline
Sep 2015
1728
It is like seeing two diametrically different facet which I did not expect to reside in her after reading that interview and comparing it with her short interview in Cowboy Bebop Season #0. One gave an impression of a cheerful, innocent quirks of girl which when I watched that, I really could not believe that it was her who made those 'cool' Cowboy Bebop OST. In the other hand, from that Redbull Interview, she was like a sophisticated, idealistic, unbounded but will always living her life and passion through her own philosophy. I know Cowboy Bebop season #0 is kinda old as comparison, she is of course has developed her ways and expanded her references and creativity since that time, but still.
UpperCatSep 9, 2016 3:49 AM

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Sep 9, 2016 7:10 AM
#9
ladatree

Offline
Dec 2014
76
RainbowBuffalo21 said:
Do I just give her the script and the storyboard and let her do her thing or there is more to it? This can also to apply to any talented film composer that can make amazing soundtracks.


From what I understand you can:
Just tell them to go nuts and make whatever they want.
Give them a few guidelines, like use the triangle for the bad guy's theme, voices in a time reset (AlA re:ZERO)
Give them a genre that would best represent it and they go do whatever.
Japan lets them do what they want mostly.

Whereas from what little I have read, English producers and directors may want stuff tweaked or changed. (Like why use death metal when Barbie goes to the shops or whatever, just make it metal)
Sep 9, 2016 1:25 PM
#10
RainbowBuffalo21
Offline
Jun 2015
14
ladatree said:
RainbowBuffalo21 said:
Do I just give her the script and the storyboard and let her do her thing or there is more to it? This can also to apply to any talented film composer that can make amazing soundtracks.


From what I understand you can:
Just tell them to go nuts and make whatever they want.
Give them a few guidelines, like use the triangle for the bad guy's theme, voices in a time reset (AlA re:ZERO)
Give them a genre that would best represent it and they go do whatever.
Japan lets them do what they want mostly.

Whereas from what little I have read, English producers and directors may want stuff tweaked or changed. (Like why use death metal when Barbie goes to the shops or whatever, just make it metal)


Got it. Will do. I don't wanna restrict on the composers ability to make good music. I don't want the music to be just pure background noise that people will forget(Marvel films). I want amazing music that the audience will remember for being amazing music.
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