The audio director could also be considered the person in charge of ‘sound’ when it comes to animation. The work involves creating the theme song and background music to match the scenes, sound effects, and even directing how the voice actors perform as their characters. Here, we discuss with Kazuhiro Wakabayashi, who was the audio director for Ghost in the Shell, Ghost in the Shell: Stand Alone Complex, and Innocence, how he approached the voice actors and about behind-the-scenes stories from the analog age of recording. Wakabayashi looks back on his work with candor and even throws in a few jokes. Within all that, we also heard more and more that showed just how deep his connection with the director, Mamoru Oshii, really goes.

――”Utai,” the theme song created by Kenji Kawai for Ghost in the Shell, has many fans to this day, even overseas. How was that song created?

 

Kazuhiro Wakabayashi(“Wakabayashi” below): As I recall, Oshii requested something that had an Asian feel but also incorporated voices in the same way as the ethereal-sounding female voices found in traditional Bulgarian folk choirs. I had the idea to use percussion instruments to bring out the “Asian” feel but was a little lost on how to evoke Bulgarian voices. It was Kawai who suggested the use of Japanese folk songs. From there, Oshii, Kawai, and I had nightly discussions over the course of two weeks to finally come to a decision. Ultimately, Kawai wrote the lyrics in a form of old Japanese called “yamato kotoba,” and that really brought the whole idea into focus. Once we had that decided, slowly but surely, “Utai” came into being. This is the one song that my mentor has given me praise for. He has never praised me for anything else. For that reason alone, this song means a lot to me.

 

――Yoko Kanno was in charge of the music for Ghost in the Shell: Stand Alone Complex. What led you to offer the position to her?

 

Wakabayashi: This was one of those rare instances where the offer came to me. When she first accepted the job, she actually requested that I be the audio director.
 

――What do you think inspired her to want to work with you?

 

Wakabayashi: Until then, I had only worked with her once, but it seems she thought I was interesting. During the planning stages, the audio director usually gives a rough outline to the composer for what they want, but for most people, it’s vague ideas like “M01, Motoko feels strongly about something” or “M02, a song for when Motoko is sad.” But, in my case, my notes regarding what Motoko is feeling usually come out more like “M01, a song that represents the kinds of feelings a woman like this would keep hidden deep in her heart,” and I make sure to add titles like “Parting” or “Regrets.” When I approached her with these notes of mine, she told me, “If you give me words that evoke images and voices, the music comes to mind more easily. So at the very least, give me notes that give me that sort of inspiration.” Since I did my best to brush up my notes for her, I guess we worked well together.
In theory, the music for cyberpunk stories should be cool and crisp. But I would rather it focused more on the emotions in the hearts of the main characters. For that reason, I think the music (for Ghost in the Shell) flows a little more naturally than in other cyberpunk stories, and I’m happy to have that affirmation.

 

――Would you say that working with Kanno left a strong impression on you?

 

Wakabayashi: She has an incredibly unique approach to composing music. She’ll come to you saying that a certain scene inspired her while she was reading the script, so she wants your notes right away. Once, when I quickly wrote some notes and sent them to her, she had a song ready for me in around a week. However, there were times when, regrettably, we were still unable to use the songs she made for us. There are about three songs that never got released due to issues with television broadcasting guidelines. I hate to say it, but regrettably, these wonderful songs created by Kanno that would not suit any other story will never be released.

 

――Do you have a favorite line of dialog from the Ghost in the Shell series?

 

Wakabayashi: At the end of Ghost in the Shell, when Bato has taken Motoko to the safe house in her new body, she looks like a young girl, and he says, “You’re welcome to stay as long as you like.” He means those words, and it’s a moment when we really get to see into his heart. The words are simple, but they contain the deep feelings he holds in regard to Motoko. I like how the words bridge that gap. I also like Togusa’s line, “If my Mateba will do,” in regard to his beloved firearm. This is also Oshii’s favorite line. Once, when we were working on Ghost in the Shell, Oshii asked for me to pick him up in my car. I’ll admit I was a little put out at being treated like an assistant, but when I picked him up, he had bought me coffee from Starbucks, which had only just arrived in Japan. And he handed it to me, saying, “If Starbucks will do.” *laughs* Little moments like that happened a lot.

 

――Looking back on it now, as an audio director, what do you think draws people to Ghost in the Shell?

 

Wakabayashi: As someone who works with audio, whenever I watch something, I can’t help but start thinking about how I would use sound in it, but for Ghost in the Shell, there were several scenes where nothing immediately came to mind. What I mean by this is that it was something completely new that I had never encountered before. Not only was the artwork itself wonderful, but I also thought that the fact that the artwork was already nearly completed when I began work was also in my favor. Nowadays, the way things are scheduled means you rarely see that happen anymore, and the script is recorded over stationary images. It’s often difficult for the voice actors to envision what exactly is happening. In some cases, the animation and the music don’t quite mesh together either. But being able to see the artwork as close to completion as we are able really can have an effect on the final result.

 

――The 4K remastered edition of Ghost in the Shell was released in 2021. How did you feel seeing this newly reborn version of it a quarter-century later?

 

Wakabayashi: Even after all this time, it still appears “new” to me. In particular, the view of Motoko’s skin peeling off in the opening scene gives me chills every time. That could only have been made by Okiura. (Hiroyuki Okiura was the character designer and animation director for Ghost in the Shell) I’ve seen very many anime over the years, and while there have been many that I thought were beautiful, it’s rare to find one that gives you actual chills.

 

――Looking back on your career as an audio director, how does the Ghost in the Shell series rank overall compared to other titles?

 

Wakabayashi: Out of all the projects I have worked on, this series has given me many cherished memories, and I feel it has had a great effect on the work that followed it. The experience I gained from this title led to my being offered a wide variety of work, and I believe that is due to just how well-regarded Ghost in the Shell is around the world. But on the other hand, it has meant I don’t get many offers for the magical girl or comedy genres, which was where I got my start. If I’m honest, sometimes I would like to work on something that isn’t just large-scale productions about the fate of the world, but you know, that’s just how life is sometimes. *laughs*

 

(END)

 

 

KAZUHIRO WAKABAYASHI

Born in Tokyo, 1964. Began working as an audio director after training under Shigeharu Shiba. Served in this role for Ghost in the Shell, Ghost in the Shell: Stand Alone Complex, and Innocence. Has also worked on many Studio Ghibli productions, such as Spirited Away and Howl’s Moving Castle, under the name “Kazuhiro Hayashi.” In recent years, he has worked on The Seven Deadly Sins: Cursed by Light,Time Patrol Bon, the WOWOW original animated series The Fire Hunter, and more.