In anime, they explain the drama way more than Hollywood movies. How they tell the drama is quite different. ![]() Anime, it used to be, for a younger audience, children, teenagers, so they mixed the music slightly catered to the TV show. ![]() How they treat the sound is quite different, too. How they approach the music production is quite different. Especially the original content, the IP, the characters, the story, the plot, I think that has people more interested in animation now than 20 years ago, which is a huge change for me.īesides the music and the budgets, how are things different in Hollywood and anime? But as I progressed, my career, I think people are paying more attention. I think anime has been a more and more niche genre before, when I started. Are the Hollywood people you work with interested in learning more about anime? The anime people are interested in Hollywood. I give them new ways to do the production and try to put that into the practice, try for them to experiment making the music in a different way, which makes the music something new, and we hope there will be some great reaction to that. The different perspective I share with different composers and producers. Sometimes it’s not about how you do it so much, where you do it, it’s about how you think about doing it. The sound of Hollywood is sometimes orchestration, sometimes it’s how you mix, sometimes how you do a little trick in the production. But there are things you can accomplish without a huge budget. I think the biggest difference is the budget and time. What are the differences between Hollywood and anime that you’ve seen when it comes to music? They get an idea from what we discuss and then we put it into practice if it’s possible. The overall production process of how they do the work. So I discuss his process or other people’s process, how they compose, how they talk to the director, how they pick the musicians, how they mix the music, how they record the music, how they put the music onto the screen. I tell them about how we do the production, or what the composition process is for Hollywood composers, because I work with Hollywood composers like Thomas Newman. What have you taught them about Hollywood? They always want to get the knowledge of that to use in their creativity. I think they look for the epic-ness or the higher artistry style of a Hollywood movie. They’re always curious about how Hollywood works. The past 20 years, I’ve worked with quite a few composers, cooperating. ![]() They’re looking for a new palate for their creativity and they reach out to me to help them. Which makes it kind of a newer style of music. ![]() So usually they reach out to me to discuss how can we get that texture of Hollywood sound. But a lot of them don’t know because it’s a different country and different style, how to find that particular sound which they are looking for. I have quite a long history working in Hollywood.Ī lot of Japanese composers or creators look for new sound all the time, and a lot of them like Hollywood sound. I’ve been working in Hollywood since 2006. I helped coordinate the recording session in the US and helped the composer to pick the players in the US and helped them cooperate together.ĭid you work for Hollywood before you worked on any anime? I think we recorded it in the USA with American musicians. Īt this moment, for this movie I worked as the score mixer and score producer. I do a lot of collaboration work between Japanese composers and anime makers to give ingredients of Hollywood sound sometimes to Japanese anime, to enhance the experience in the movie theater.Īnd, yes, I did work on this movie. That’s the reason I’m here now, in Japan, to help Japanese content to come out in the world. I would love to talk about Japanese work, too. Miyazawa spoke to Otaku USA about how he helps with cooperation between Japanese and American creatives, how Hollywood is paying more attention to anime, and the experience of dubbing Sing into Japanese.īecause this is Otaku USA, we’re most interested in your work with anime. But he’s also been involved in the world of anime, and in dubbing American films into Japanese. Shinnosuke Miyazawa is a music editor and score mixer in Hollywood, where his credits include everything from Wall-E to Revolutionary Road to A Man Called Otto to the 2023 Pixar film Elemental.
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