Yojiro Noda sat down with Billboard Japan and shared the process of creating music for the project.
takes place in various ruins around Japan as a girl named Suzume goes on a journey to close the “Doors of Disasters.” Noda sat down withand shared the process of creating music for the project, which Shinkai notes that he’s “confident that you’ll feel the impact of what can be described as a musical experience in theaters.”
Around the time when I first sent him my feedback, the world was going through a major pandemic crisis and the mood of society was like “now isn’t the time for this,” so we sort of stopped contacting each other for a while. But I was able to go to the studio, so I wrote some music and sent him several demos including the prototype of “Suzume” around August. “Suzume” is the only one that made it from that batch.I found this one the most exciting .
We didn’t have anything specific in mind but did want a voice that would transcend current times. There were many people who simply had a good voice, or sang well, or had a voice that would sell in 2022. But we needed a voice that felt like it resonated 100 years ago and would still do so 100 years from now. A transparent voice with an endless clarity, like. At the same time, a voice with strength of will.
Mr. Shinkai always said he wanted another song. I had to squeeze it out so hard it was like, “I can’t come up with anything else!” I was also working on the movie score, so at the last minute I said, “I’ll give it one more try. If it doesn’t come out next time, let’s just go with ‘Suzume,’” and gave him “KANATA HALUKA” and one more track, I think. The other one was a really simple tune accompanied by an acoustic guitar.
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