'Shōgun' | Sound & Screen Television 2024 - video Dailymotion

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02:26Atticus Ross and Nick Tuber.

02:28We've got to start by saying also my brother, Leopold Ross.

02:39Leopold.

02:40Come on, give it up.

02:45And I want to say thanks to all the musicians tonight.

02:48Incredible night.

02:49And especially Tyco L.A. who came up for us.

02:53Thanks.

02:56Absolutely.

02:58I heard this, you've been working or were working on this for two years.

03:02Is that right?

03:05Yeah, essentially we were because we got a call in COVID,

03:11you know, which is that kind of time stood still.

03:16You know, so it's nice in a way and it was from a friend of mine

03:21and Leo's called Jamie Wheeler who is a producer on it.

03:24And she said, you know, we're making this show, Shogun.

03:33It's going to be all in Japanese.

03:36You know, it wasn't kind of like, it didn't read as we're making this

03:42kind of monumental piece.

03:45It read much more like we're doing a kind of avant-garde art thing,

03:49which is how we started out.

03:52But it was one of those things where I think, you know,

03:57this comes on once in a while and you dream about when it does.

04:00Yeah, I can imagine.

04:02What was the decision-making process?

04:04We saw some of the traditional instruments there versus some of the

04:08atmospheric sounds that people know you for.

04:11What was that balance for you like?

04:13I'm going to let Nick talk.

04:15But essentially the worst thing that it could be would be a

04:20pastiche of Japanese music.

04:22But we did want to be faithful to the time and the place.

04:27So like any show and like a lot of the composers have spoken about,

04:32it's really about trying to find what is the voice, you know,

04:36what is the heart of the show.

04:38And in this case it did, it was through a lot of experimentation with,

04:44you know, traditional instruments and then stuff we bring to it.

04:48And Nick can tell you a lot about,

04:50and even give you a history lesson on taranaki.

04:54Yeah, we stumbled across a guy named Taro Ishida,

04:58who is an arranger and manager of a type of music called gagaku in Japan,

05:05which is the imperial court music of Japan.

05:09And he introduced us into this like whole world of instruments

05:14that we had never heard of and were really excited about.

05:17And we just started by kind of giving him sketches

05:22and they would improvise over it.

05:24And then we would take their improvisations and run it through our own

05:27chains of effects and turn those into landscapes.

05:30And then they would improvise over those again.

05:32So they're like sort of in a feedback loop of them hearing their sounds,

05:37but like distorted and turned into the atmospheres that you're talking about.

05:41That sounds like quite an interesting research rabbit hole to go down.

05:44Yeah, it was amazing.

05:46I mean, we did, it was all remote because it was over COVID.

05:50And we were so lucky to have met Taro because he understands,

05:55he also works with synthesizers and computers,

05:57and he was understanding what we were going for,

05:59which was not to just recreate period music,

06:01but to create this blend that felt alien to the viewer.

06:06You didn't want to just default to a big orchestra by the sounds of it.

06:11Well, it's been amazing to hear the orchestra play tonight.

06:16But as I said, when it started,

06:18there was this idea it was going to be a bit weirder.

06:20And then they went off and shot it and we'd already started writing.

06:24And Justin was like, you know, we need it to be epic.

06:29So we feel like it should be an orchestra.

06:32And we just felt like, give us a chance at epic,

06:39potentially without an orchestra and to see where we can go.

06:43And, you know, once they heard where we did go, it was all support.

06:49Yeah, and pretty incredible to hear them play that tonight.

06:52I mean, tonight was amazing.

06:53And each character in this show has their own theme, essentially, right?

06:57Yeah, Toronaga, Mariko, Blackthorn,

07:01they all have their own themes that get woven into the story,

07:05but then they also converge and blend.

07:07Like Blackthorn's and Mariko's sort of turns into one theme as the show goes on.

07:11Yeah, you're thinking about each individual character,

07:15what is the sort of authentic sound for them?

07:19Yeah, and I think just getting at the emotional core of their character

07:22and trying to think of it in sort of like what just resonates

07:26when you're watching it on the screen.

07:28If you've watched it, I mean, it's as much about what's not being said,

07:32or often about what's not being said.

07:35And I think the music needed to reflect that as well.

07:38Yeah, how do you approach that if that's the case?

07:40Well, I think it's just understanding the psychology of the story

07:43and spending a lot of fucking time working on it.

07:46Yeah, it certainly sounds like you did.

07:49How did the three of you work together?

07:51And imagine with Justin and others, what was that collaboration process like?

07:55I mean, it was cool, and it sounds like when I see it

07:59and when I listen to the record and stuff,

08:02I'm surprised at how sort of big it sounds.

08:06But it was a very DIY kind of scenario.

08:10I mean, it was all home studios and, you know,

08:14the student in Japan sending his shit and, you know,

08:18just trying to figure it out, like always.

08:21It doesn't feel like the most DIY of projects, given the scale of it.

08:25I'm saying the making kind of was.

08:27Yeah, no, I can imagine.

08:29Well, look, Nick, Atticus, thank you very much.

08:32And Leo.

08:33Thank you.

'Shōgun' | Sound & Screen Television 2024

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