Newtype Magazine (11/1999) – A Talk with Yoko Kanno & Akira Yasuda

Music and Visuals—when these two realms collided, a new wind was born in the Turn A world. Yoko Kanno and Akira Yasuda. What did they bring to Turn A, and what will the upcoming concert be about?

THEIR FAVORITE SONG IS “MOON”

“MOON” was effectively used in the scene where Loran shouts at the Moon in the first episode. It’s a song that is supported by both Yoko Kanno and Akira Yasuda as a representation of *Turn A Gundam*.

Yoko Kanno: The first song I compose always becomes the core musical motif of a work. In this case, it’s “MOON” from the first album.

Akira Yasuda: I really like that song. Back when I was drawing a promotional poster, I was struggling to overcome an artist’s block. But then I listened to the “MOON” CD that Miss Kanno had lent me and realized that this is the atmosphere of Turn A. It gave me a flash of inspiration and I was able to get back on track. You know—how when something comes to you perfectly but can’t be explained in words? And even though it’s such a gentle theme, to me it’s more of a cheerful song than anything else.

I hope you can feel the winds and smells of the Turn A world.

Kanno: I look at Mr. Yasuda’s drawings when I’m composing the music. (laughs) Also, “Talkative Sochie” (episode #1, this track plays during the scene where Sochie slips the binder in the car in the first episode) and “Guin Lineford’s Limousine” (episode #1, this track plays when Loran drives Guin’s limousine to the airport) are tracks that I composed after looking at progress shots from the first episode. I tried to make them represent the image of an interesting world.

The second album’s jacket illustration secrets

Kanno: I always look at the jacket covers and think to myself “How could you draw something like this?” This time it’s Miss Kihel’s dignified face, which was quite shocking. She has a dignified profile that makes you realize “This kind of person really does exist in real life.” It’s not boyish or anything, rather it’s just something that’s rarely shown in anime. I think it’s both cool and feminine.

Yasuda: Actually, I just wanted to draw red cheeks. (laughs)

Kanno: You did say that before. You wanted to draw the red cheeks of Caucasian people.

Yasuda: Yes, that’s all. (laughs)

Kanno: The jacket cover of the second album will feature Dianna and Kihel, so I’d like the contents to be powerful and memorable. Since the first album didn’t include an OP or ED, I want the second album to have a structure similar to that of a TV show, starting with an OP, followed by a war, a festival, a love romance, and many other things, and then capping it off with an ED.

**Yoko Kanno.** While still attending Waseda University, Yoko Kanno debuted with CBS Sony as a member of “Tetsu 100%”. Even after the group’s disbandment, she continued to energetically pursue musical activities, regardless of genre. She has composed music for many commercials and artists such as Miki Imai and Kyoko Koizumi. Her anime works include *Escaflowne*, *Cowboy Bebop*, and *Brain Powerd*. *Turn A* is her second work with Director Tomino.

Yoko Kanno’s favorite episodes are “Laura’s Cow” and “Grave Visit”. For both, she even went to the director afterwards to tell him “Last night’s episode was good, wasn’t it?”

“Is it okay for Kihel and Dianna to swap places? Won’t they get found out?” Yoko Kanno was on the edge of her seat when she saw “Grave Visit”. The role-swapping was a captivating plot development.

“Luna Luna Luna…” lyrics of “Spirit of the Moon”?

Kanno: I was told that the RRET Team was comprised of people who had been exiled, so that’s the image I used for “Spirit of the Moon” (“月の魂”), which plays in episode #23. Actually, this is the first of my “vulgar entertainment” pieces. I don’t know if that’s the best way to describe it, but I don’t usually compose music that overtly tries to stimulate the senses. If you consider the flow of a 30-minute episode of Turn A, I think it’s better to have music that makes the audience feel emotion from the bottom of their hearts. After all, it’s a fast-paced anime with many individual plotlines. I think my approach is more suitable for this type of work.

Yasuda: But it doesn’t sound vulgar at all to me. I think it’s wonderful. When I first heard the song, I actually felt really bad. Originally, the RRET Team were going to wear more outfits, but I was only able to prepare one in time. I wish I could have helped expand the world a little more, but I couldn’t.

**Akira Yasuda.** Designer at CAPCOM who worked on *Street Fighter II* and many other games. For *Turn A*, he was in charge of character designs and CD jacket illustrations. The illustration in the center of the two-shot photo is from the second soundtrack and will be on display at the concert on November 12.

Kanno: That’s right… but the director’s lyrics for the song are also amazing. “Luna Luna Luna Luna~” (laughs) When I first read them, I thought “How can there be lyrics like this?” It was ridiculous! But that is the most memorable part, so I had to keep it in. Normally, I would never include lyrics like that. (laughs)

Yasuda: In the actual song, isn’t the number of times they say “Luna” more than the original lyrics by Director Tomino? (laughs)

Kanno: Maybe so. (laughs) But I couldn’t leave it out, because I wanted to enhance the odd nature of the director’s songwriting. His lyrics are always so interesting! His stories are complex and sophisticated, but there is something about his songwriting that is pure and unaffected. In a sense, his songs are simple. (laughs)

Yasuda: In spite of everything, he tries to be an entertainer. (laughs)

Kanno: Yes, yes. (laughs) Come to think of it, whenever Mr. Yasuda designs characters, it’s for the director! Do you draw with that in mind? Do you listen to what the director is saying and try your best to reflect that in your design?

Yasuda: When I started working on Turn A, I wondered how I should approach it. Was I creating designs for the director or for Gundam as a whole? Ultimately I decided that I simply wanted to do my best and contribute designs that can make the work as interesting as possible.

Kanno: That’s what’s important, right? It’s about entertaining people. I used to think that I was a luxurious commodity, but I’m gradually moving towards simple entertainment. I still feel like I have a long way to go, so I’m in the middle of the transition. I’d like to change my mindset to simply being pleasant, interesting, and cute as an artist and creator.

What happens at a Turn A Gundam concert?

Kanno: Personally, I don’t like concerts where everything is awfully formal, so I want people who attend to be able to enjoy themselves to the fullest. I’m still thinking of ways to facilitate that. We could have a coming-of-age ceremony at the venue, or maybe even a dance party that lasts all night. I want the audience to feel the winds and smells of the world at the International Forum. I want to make the audience really feel the wind in the air. For me, the theme will be how to incorporate the audience into the concert.

Yasuda: I’m looking forward to it. (laughs)

Kanno: Why are you acting like it’s someone else’s business? (laughs) Mr. Yasuda, why don’t you draw a sketch in front of the stage?

Yasuda: I’m not good at that kind of thing. (laughs) First of all, I’m planning on attending as just a guest… ah, but since it’s such a big event, it would be nice if the venue itself turned into the world of Turn A. There could be trees, and maybe organic parts with nanoskin.

Kanno: Also, CD recordings and live performances sound completely different, so I hope people will come to the concert and listen to the orchestra in person!