The song is one more time one more chance by Masaki Yamazaki

In addition, Zheng Zhongji has covered this song called one more time

The following report talks about this The background of the song and other content, I hope it is useful to you

Conversation between Makoto Shinkai vs. Masaki Yamazaki

Conversation about realizing dreams when the movie is announced

Xinkai Director Makoto's continuous short animation [5 Centimeters Per Second] finally comes to an end. The song chosen as the theme song of this collection is "One more time, one more chance" by Masaki Yamazaki, which is also used in the play in a way that is close to the plot. The March issue of the literary magazine "Invitation" published a conversation between Masaki Yamazaki and director Makoto Shinkai.

The parts not published in the magazine are also introduced here. Director Shinkai talked about the reasons for choosing this track, the origin of the song, each person's thoughts on their own work and their thoughts on the other's work, etc. Video and music---the conversation between artists active in these two respective fields attracted attention.

Yamazaki: When you first showed me the work, it wasn’t completely finished yet, and the final part was still in a split-shot state. That's not a bad thing, because I don't know anything about how animation is made, and it looks pretty exciting to an outsider. The shots were shot using photos. Did it take a lot of effort to find the location?

Xinhai: About a year and a half before we started production, we started looking for locations.

Yamazaki: Because of this, it feels very close to the real thing. The story itself gives such an impression, and the pictures on the poster also feel very real and realistic.

Xinkai: The location of the picture on the poster is a station called Iwafune in Tochigi Prefecture. In fact, we also went there. The staff went there with cameras, and a man and a woman stood at the location of the picture and took photos. Based on this, digital technology is used to create pictures, so the sense of realism appears.

Yamazaki: That’s it. So are all of these animated?

Xinhai: Yes. I also shot some other animation materials, and then made composition shots from these animations and still paintings. Although it is not impossible to make a realistic version without photo material, I still like the drawn pictures. It's fun to draw a background based on a photo, then add some things, omit some things, and combine it into a picture for animation.

Yamazaki: The scenery and background are quite beautiful. Also, the change of seasons, the way the cherry blossoms are blown away by the wind, and the meticulous description of details all leave a deep impression on people. This is only possible because of the careful location search, right? This also makes the work feel very fulfilling.

Xinhai: Thank you for saying that. But there are also parts that are put together based on imagination. Since some parts are different from the actual photos and are not affected by weather and seasons, I took pictures of summer scenery and then imagined what it would be like when it snows in winter to depict the snow scene. However, if you just draw it like this...

Yamazaki: ...it will feel a little thin, right?

Xinhai: That’s right. If it is a fantasy or science fiction theme, it is easy to draw, and imagination alone can enrich it. But you can’t do this with everyday scenery.

Yamazaki: There must be reliability.

Xinhai: Yes. When it comes to depicting something that actually exists, it's difficult to draw without actually seeing it. Relying on imagination to describe it will be limited anyway. Although it is an animation, it has to depict reality, and repeatedly finding suitable locations will enrich it.

Yamazaki: Thinking about it this way, animation really requires sophisticated and complicated production methods. Although the live-action shooting scene also has art editors, sets, and decorations, Mr. Shinkai, as the director, basically did so much by himself. It takes so much time and the workload is quite heavy.

Xinhai: The workload is indeed quite heavy. And not only take photos and videos, but also draw them into pictures.

The so-called animation, to make the animation move, basically requires 24 frames per second. On this basis, we can refine it to 12 or 8 frames per second, or freeze the picture to 1 frame, but even then, the number of animations and backgrounds required together will be huge. Compared with other theatrical animations, this type of animation is much smaller, but it still requires more than 20,000 pictures and more than 900 background pictures, and many staff members share the drawing work.

Yamazaki: It’s really labor-intensive and time-consuming. But was that also true of the original production (Voice of the Stars)? You did it all by yourself, right?

Xinhai: It is said that it was done by one person. It lasted about 20 minutes and was very short. Later, I tried to do as little moving scenes as possible (laughs). Since I have never drawn moving images of this kind of animation, I didn’t have the chance to watch it, so I just watched it all by myself. I quit my job and stayed at home all day to do it. It took me seven or eight months.

Yamazaki: In this way, I have roughly learned the basic process. The part I share now was experienced by myself back then.

Xinhai: After doing it, you will know what you can’t do and what you want to do. Later, the parts related to people were gradually added. But the parts related to storyboarding have always been done by me alone.

Yamazaki: I don’t know how many shots I’ve accumulated for this part. Director Shinkai probably wrote the script himself. Does this part also take time? How was the story written?

Xinhai: First write a simple article like a novel, and then consider where to expand and where to shrink based on this. The very beginning was the hardest part to write and whether it took the most time. I haven’t compared it with others, so I’m not sure (laughs). So what was it like when Mr. Yamazaki was composing the music? What’s the first thing to do?

Yamazaki: First of all...that's all (laughing). As for whether it takes time or not, it won't work at all if I'm in a bad mood. Even if the deadline is tomorrow, I can't do it if I'm not in the right mood. Even if you don’t work on it slowly because you have a deadline, even if you tell me that you have to make an album with 100 songs before the deadline, it will never work.

Xinhai: If there is a deadline, 100 songs would be difficult, but what about 20 songs? (laughing)

Yamazaki: 20 songs would be about the same. But it’s too much for me to keep working at home with my head down. (Laughs)

Shinkai: In "The Moon and Cabbage" starring Mr. Yamazaki (directed by Tetsuo Shinohara, Yamazaki played the role of a musician, "One more time, One more chance" was used as the song in the play) , doesn’t it portray the kind of person who composes music full of distress?

Yamazaki: Hahahaha. Yes yes.

Xinhai: What was the atmosphere like?

Yamazaki: How should I put it? It’s a very beautiful description (laughs). I've never been sitting at the piano writing like that. When you can’t do it, you just can’t do it, and there’s nothing else.

Xinhai: My favorite scene in that movie is the opening paragraph of "One more time, One more chance" in front of the piano. I felt extremely excited after watching it, and I heard that this was how it was done.

Yamazaki: That’s the way it is done. Occasionally a melody pops up, and I usually think about the corresponding music, or I have selected a theme in advance and fill it in in the form of lyrics, and so on.

Xin Hai: When composing music, for example, before I even get to the split shots, are there scenes that are more story-telling at the beginning?

Yamazaki: Yes, yes. But this part is a bit embarrassing. I’m embarrassed to say how I did it (laughs). I am often asked, "Is this song based on your own experience?" ] Such questions.

Xinhai: Oh, that’s it. Since Mr. Yamazaki composed and sang the song himself, it is natural to think that it is Mr. Yamazaki’s own experience.

Yamazaki: There will be some reaction.

Of course, some past experiences and feelings will be embedded and reflected in some places, but there is no such song that is all real.

Xinhai: Because I also create stories that are close to daily life, many viewers seem to think that they truly reflect my personal experience. Perhaps compared to other original comics and planned animations, more parts reflect real experiences, but not all of them are copied intact. This is really embarrassing.

Yamazaki: Yes, I’m embarrassed (laughs).

Xinhai: So I thought about separating the work from myself, but it can be said that it is precisely because there is a part of myself in it that some people will have a reaction.

Yamazaki: I’m sure everyone who listens and watches will be there. The so-called understanding like personal experience means that the listener and viewer compare the work with their own experience, thereby finding the part that resonates.

Xinhai: Ah, that’s really the case. If there were no screams, it would not be considered a personal experience. I feel it because I resonate with something in my heart. This time I was attracted by the lyrics and chose "One more time~". Did this song also start with a melody?

Yamazaki: Regarding the song "One more time~", it feels like the lyrics and the music came out almost at the same time. The song itself came out before the movie. Because it was inadvertently related to the content of the movie's script, this song was used in the play.

Xinhai: It fits the movie very well. Then it's not a piece specially composed for the movie.

Yamazaki: I feel like the lyrics haven’t been completely written yet, but I just started singing them live. It seems that the director heard this song while he was writing the script.

Xinhai: Did you find inspiration in this song and change the movie?

Yamazaki: There may be some compromises. Should we say mutual induction? It always feels a bit incredible. Usually music is done for the finished film, right? It’s really a rare collaboration.

Xinhai: Having said that, it has been used as the theme song of a movie, and then used by other movies. This kind of thing has basically never happened, and it actually got permission. Really happy. What did you think when you first heard this?

Yamazaki: How should I put it? Like you said, it's been used once by a movie, and now it's used again...a kind of courage? I really admire it (laughs).

Xinhai: Sorry, I have no common sense.

Yamazaki: No, no, I'm very happy. Moreover, it is a great honor for this piece to be preserved in this form. Because it’s a song from 10 years ago.

Xinhai: Has it been so long? I often heard this song when I was in college. Yes, it has been 10 years since I thought about it. The New Year's Eve of the year before last was the time when this work was created. Did you sing this song in the "Red and White Song Battle"?

Yamazaki: Yes, yes, I sang it.

Xinhai: Because I have been immersed in work in front of the desk, so I didn’t watch "The Battle of Kohaku Uta". But when the first grade staff came to work, they talked about Mr. Yamazaki singing "One more time~". It’s my favorite song, and I’m really happy that I can still hear it sung now.

Yamazaki: Actually, I wanted to end it with "Kouhaku" (laughs). I said it was finalized because participating in "Red and White" is exactly the 10th anniversary for me. Then I kept touring and singing this song with the strings plucked, so I wanted to sing it to the end like this. Moreover, this song has a lot of repetitive parts, which is quite strenuous (laughs). And then, it’s not the end, I just want to call it a day and start again next year, that’s how I think about it.

Xinhai: That’s right (laughing). This time I just wanted to have some memorable music to use, but I haven’t decided what the music itself is like. Generally speaking, I would consider asking others to make original music, but I just want to make it a short piece that is easier to see.

Of course, pictures are limited, so I wanted to make something that could be seen even on the small screen of an iPod and be seen in the spare time of life. In this case, it is quite suitable to find ready-made songs that everyone is familiar with.

Yamazaki: That’s it. This makes it easier to blend into one. The same is true for songs. I want to be held in someone's hand or kept by their side all the time. I like this state of existence of the work very much. So, I know very well this feeling of what is called the leisure space in life.

Xinhai: And this is a slightly sad story. How can we make people have hope in the end? When thinking about this, I felt that if there were ready-made emotional songs played, the songs would be related to the memories related to them and the stories in the drama, which would make people feel comfortable. Therefore, after listening to many well-known songs, I selected the song "One more time~" that matches the world view or purpose of the play. Originally, I also liked this song very much.

Yamazaki: Thank you. Also the usage is very sad. The song played during the final quick scene change is particularly exciting. I always feel like my songs are overly praised. There is also a piano melody played in the first episode, which is also great.

Xinhai: Sorry, I rearranged the melody for use.

Yamazaki: It’s okay (laughing). The convenience store scene at the back was also playing, I think it was the convenience store broadcast (laughs).

Xinhai: Indeed. The theme song of a movie is played during the play. Generally speaking, this cannot and will not be done. As elements outside the work are brought into the work, the level of fiction will be mixed. So this time I thought about it again and again, and finally took the risk.

Yamazaki: That’s a good idea.

Xinkai: Mr. Yamazaki’s songs are actually played in convenience stores, right?

Yamazaki: Yes. When I sang that song, I didn’t have much money and I often went to convenience stores. When that song was playing, I would buy rice balls (laughs). I always feel a little awkward, why is that song playing while I’m buying rice balls (laughs).

Xinhai: I have experienced this several times during production. When I entered the convenience store, "One more time~" was playing inside. Haha, I always feel like I'm in a drama.

Yamazaki: This time, including the use of songs and animation, I feel that there are many possibilities. It is deeply rooted in people's hearts as something close to people around us, and its expression techniques are also very rich.

Xinhai: It’s very interesting. However, although there are animations that almost everyone knows, such as Ghibli's works, in terms of quantity, animations that are not well-known to every household account for the absolute majority. That’s why Mr. Yamazaki’s song was used this time. I was thinking about how I could make it accessible to people outside of the existing audience, and the existence of songs that were well known would definitely increase the possibilities. After all, the power of song cannot be ignored. Although I don’t think songs are simple and comfortable, from the perspective of the impact they have on people and cost control, there are still advantages to using songs. I feel there is no difference between the sense of fulfillment I get after watching a movie and the feeling I get after listening to a song.

Yamazaki: How should I put it? I often think about this aspect. The movie was probably a work that took about a year to be conceived. Can I finish it in two days?

Xinhai: Watching a two-hour movie, you can be fully immersed in the movie for two hours. However, in the end, the formed things that remain in people's hearts, the two-hour image will also be lost. Well, not much changes in the two-minute piece. Sometimes the music has more advantages, and that's what makes music enviable. Also, he looks very cool when he sings live, especially when he plays and sings by himself.

Yamazaki: If you play and sing by yourself, the girls will probably go crazy. Sorry, just kidding (laughs).

Xinhai: Yeah, but that’s the case (laughs). The power of live singing reflects the breadth of music.

Yamazaki: Live singing seems to be more convincing. It's a bit incredible to watch the actual performance and singing of the composer, and those who watch it will feel a desire to fight. After seeing the on-site investigation, many people wrote this. Assuming that the song being sung is a very tragic piece, people who watch it being sung at the right place will gain a lot of strength from it. Although it is only sung by the creator himself, it is very convincing.

Xinhai: I understand somewhat. Speaking of which, it makes no sense, but today I happened to have a dream about making animation in front of an audience. It was a dream that I entered a place like I don’t know if it was a circus or somewhere, and had to perform a show. If I had no choice but to perform animation on the spot, it was such a dream (laughs).

Yamazaki: What is the production process of live performance animation? What a great dream (laughs).

Xinhai: Where (laughs). Because I just sketched it out on paper and I wasn’t happy to show it to others, I had this dream just thinking about it. It must be because I have something to think about every day (laughs).

Yamazaki: However, images have their advantages. Unlike music, images are very specific. Take that song, for example. If you just saw the video of the performance, you would just sing with a grimace. It would be really depressing. Putting it together with high-level video works will produce a different feeling, which I should feel honored to do. And there are many bifurcations in the image, but once the music track is laid, it is difficult to break out of one stereotype. So together with images, music gains a wider space for expansion.

Xinhai: If the audience is schizophrenic due to the music and images, then they really can’t afford it. This time I used Yamazaki-san’s song, which gave me some different ideas.

Yamazaki: It’s me who should say thank you. Taking this as an example, it would be more interesting if we could continue to communicate with each other in the fields of video and music.