Author: izumi/Anitama Cover Source: Black Deacon Book of the Atlantic
On August 23, the long-awaited theatrical version of "Black Deacon Book of the Atlantic" for fans of "Black Deacon" finally ushered in the official release of BD. He took over the musical writing of the theatrical version of the play, Yasunori Mitsuda, who was widely known for his participation in background music such as "Alien Armor" and "Wheel of Time", and was also the composer of the circus chapter "Book of Circus" in the third season of the anime. This article will reveal to you the beginning and end of the film's impressive melodies.
According to Mitsuda, the biggest difference between conceiving the soundtrack of this theatrical version and producing the "Black Deacon" TV animation is that from the beginning he got all the splits from beginning to end of the play, so the composition was very handy. Usually, mitsuda's animation composition assignments often include a bunch of relatively vague instructions such as "sad atmosphere" or "battle scenes" in the notes. In contrast, this time it is completely based on ready-made images, so that the combination of sound and painting has a more integrated feeling.
As soon as the film came up, it was full of pomp and circumstance, and the background music showed the luxurious atmosphere of the camera of the cruise ship leaving the port. In view of the role of the opening scene in the direction of the tone of the whole film, Mitsuda highlights the elegant style and grandeur, but also deliberately renders the characters' excitement of expectations for the unknown voyage. In addition, by adding a little bit of ethnic music style, it also lays the groundwork for the current correspondence with the subsequent scenes, aiming to immerse the audience in a unified world view to the greatest extent.
Immediately after, there is a slightly witty scene in which the people are leisurely sipping tea in the cabin, and the deacons are combing their big backs and serving next to them. How to intersperse light and funny passages into the overall serious and repressed story line from time to time, and not let the viewer feel abrupt, it takes a lot of effort on the composer. Especially those eye-catching shots, it is more necessary for the driver to make good use of the "rhythm and gap" of the music, with the character's expressions, lines and actions, to create a benign superposition effect. To this end, Mitsuda repeatedly compares the images in subsections and constantly makes adjustments.
The highlight of the show is the "Sebastian vs Zombies" section. Mitsuda smiled bitterly and said that most of the list of compositions assigned to him by Abe Keiki's supervisor was to serve this "dance of demons". There are both quick and fierce short engagements and slow, dull stalemates. In order not to cause auditory fatigue to the audience, Mitsuda used all his strength to enrich the tricks of the song as much as possible, or compose several different melodies into a theme, coupled with the clever application of the character theme melody, finally worthy of the mission. Under his careful arrangement, the audience can easily distinguish which character's point of view is advancing in the narrative based on the melody of the music alone, which is also a major feature of the score of the play. But even so, in the final stages, it was still a bitter battle.
I have to mention Elizabeth's dancing battle scene, which is the most important part of the cruise ship chapter. Mitsuda wanted to write a more affinity song, so he proposed to wait until the image production part was completed before composing the music. Through hard work, Mitsuda has embodied Elizabeth's entanglement with unusual abilities, hidden strength to play a cute girl's words and deeds, and a firm will to protect Charles, which combine many complex qualities.
For the depiction of Sebastian and Charles's past years in the film, Mitsuda rearranged the treatment of mixing and matching their respective theme melodies with the main theme of the theatrical version, and the effect he himself was quite satisfied with.
In short, Mitsuda's composition philosophy is that everything starts from what the characters think, and the same is true for the funeral rites, one of the important characters. In his opinion, once he stands in the perspective of the character and feels empathy, he can naturally understand the current state of mind of the character, so when the funeral rites who reveal their true face recall the past, the background music that sounds also reveals a little sadness.
<h5>Resources:</h5>
Animedia, September 2017
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