Interviews

I don't exaclty LIKE the way this blog format works, as I don't see anyway to have multiple pages, but oh well.

Here are some interviews from important people.

On this page, you will be able to read interviews that I have had with people and companies over the years. They range from anime Voice Actors to musicians who compose for movies.

The first one is from George Grant, the voice of Keiichi Maebara in the English dub of Higurashi no Naku Koroni (When They Cry)

Hi (my name),

Thanks for writing! Sorry about the delay in replying…I’ve been out of
state working on some new video game projects.

Here are some answers to your questions:

1. Yeah, the “fall” of Geneon has really been felt by the producers,
directors and voice actors here. They were one of the top distributors of
anime titles and when they shut down, we’ve really seen less series coming
through the studios we work at.

2. I LOVE doing what I do! Especially animation, anime and video games.
When They Cry and another series I did called Requiem From the Darkness were
especially fun because of the “eerie” factor. When I record, I’m working
alone in a sound booth with only a mic, TV screen and the script. So to
really get into it, especially with these two series, I turn out all the
lights except the script light, so I’m locked in the darkness reacting “for
real” to the events in the show. Makes it real fun work.

3. That being said in #2, oh yeah…I’d love to play Keiichi again.

4. I love knowing that people are diggin’ the stuff we’re making. Our work
becomes your adventure. I love that people are still interested in killer
story lines, and modern day folklore, and that imagination and adventure
continues to thrive. I’m glad to be a part of it.

Thanks for watching! And thanks for writing. Enjoy your summer!

Grant George

The Second one is from Richard at Asche & Spencer, the group who did the music for movies such as Stay, The Onion Movie, and Our Time is Up. The words in bold were my questions.

First off, I would like to thank you for giving up a little of your time to me for free. This is an honor and a pleasure.

It isn’t often I come across a music composition group such as A&S.

Well, my first question is: What drives you? What keeps you going even when everything seems to go wrong…if that ever happens.

Fortunately, we all love the creative process enough to overcome the challenges and pitfalls. During the process of writing, it’s important to completely immerse ourselves in the music but- an important part of scoring for picture is being able to detach ourselves from our compositions to a certain degree (once they’ve been sent off for approval)– since there are so many different opinions in play with film and television. Often it’s a group driven problem solving process and if you’re too attached to something you’ve written, you’re heart will inevitably get broken. You build a ship the best you can and put it out to sea knowing it might sink or come back in need of serious repair. And, having all worked together for many years, we have the comfort of friendship if we need to commiserate about a client not liking something we’ve poured our hearts into.

My second question is: How did the group come to be? I know that Spencer was once part of the original group but he left to go solo (if I remember my research correctly). How did everyone else join up with Asche, including yourself.

The group was formed as a music company by Thad Spencer and Mark Asche in Minneapolis MN. Shortly thereafter, Mark Asche decided to leave the business to focus on being a performer and Chris Beaty and Tom Scott then came onboard as composers. Thad took over sole ownership of the company and began forming what is now Asche and Spencer– A working group of composers in Minneapolis and Los Angeles. As creative director, Thad had an instinct for how different musical genres and working styles would be covered by hiring each of us. The current working group is 6 composers who’ve been together with Thad for over ten years. Why are we still called Asche and Spencer? We like the way it sounds. Could be a band, could be a law firm, could be a garbage hauling business.

What instrument(s) do you yourself play? Did you take lessons or did you teach yourself. Were you in a school band when you were younger?

I play keyboards, guitar, bass, percussion, miscellaneous electronic toys, and software. I grew up playing trumpet in school band and occasionally play that (badly) as well. I took lessons on guitar and piano and studied theory and composition in college but never finished. Most of us at Asche and Spencer have stories like this. It’s important to never stop learning. I still take lessons occasionally to push myself and break out of certain habits. I always wanted to score for picture and realized early in life that it was often music that made me most emotionally attached to certain filmic moments.

Is there any instrument you want to play but can’t?

Yes. Violin and Cello. My two favorite instruments to compose for.

During projects, do you ever get emotional on certain songs or pieces? (I got teary eyed during STAY because of the music.)

YES! Absolutely. In fact on STAY that’s how we knew we had it. When we’d feel that chill, that lip quiver, we knew it was right. Most of those pieces were initially conceived and performed as a group (before the next stage of adding orchestration). The process was quite focused. We performed several versions of each composition and zeroed in when we felt that emotion, that tingle, come over us.

The group as a whole has worked on quite a lot of stuff, ranging across the media genre, from films to commercials. What would you say was/is your favorite project?

MONSTERS BALL was exciting because it was our first major feature film so I’ll always feel a certain nostalgia for that film. STAY was creatively the most rewarding despite it’s lack of commercial success. We pushed each other further on that project than any other. WAR DANCE was the most rewarding in terms of supporting a powerful story. A story that powerful makes the composing process very delicate. Subtlety served as the best way to draw the viewer in emotionally without telling too much.

Is there anything you would say to people who are hoping to get into the music business, specifically the film and multimedia aspects of it?

Yes. Develop your skill set in a diverse way and practice however you can. For example, if you’re interested in scoring to picture, find local film makers, student projects, etc and work on as many projects as possible to challenge your ability and expand your sensibility. Many of these projects are a mess but you will learn from each experience. If you can, volunteer on a project as an assistant so you can learn the process. Be observant and study your craft. Develop eyes and ears for the details– the subtle nuances. Also, challenge yourself. When I got started in the business, I took on freelance commercial composing jobs not even knowing if I was capable of doing it. If you love the work, often the pressure of a deadline forces you to be at your best.

What does the Asche and Spencer group do during their time off, more specifically, after the completion of a large project? Do you throw a party or do you relax until the next assignment?

We have thrown some parties after the completion of big projects but generally the next assignment is right there waiting for us. It’s often a tv commercial with a tight deadline– which we use as an opportunity to sharpen our creative skills and pay our bills. We do understand the importance of time away from the business though. We all have hobbies for unwinding and decompressing.

That is all I can think of. I would ask more but I don’t want to take up too much time. Thank you for this and I hope to hear more of your work in the future. The sounds you all have created set great moods and never fail to move me, as well as many others who listen to your work. Keep up the excellent work, and may you all have a great career.