#twstinterview

[yuurei20]

Floyd's VA Okamoto Nobuhiko comment from the fanbook:

"Of all the roles available, Floyd was the one I wanted the most.

I wanted to play a character that no one knew what he was thinking, and I poured all of my experience as a performer into my own version of Floyd.

I tried to create an atmosphere that was unsettling while still leaving a cute impression, along with a variety of the other aspects of the character.

During auditions I tried to over-exaggerate and sound dark and crazy, but during the recording I was instructed to sound less scary, so I tried to tone it down. I finally worked out what it is that is cute about Floyd, then increased the coolness percentage a bit, and it was settled.

I felt the roller coaster-like drop during performances, such as the sudden change from infant-like to intellectual, was what made Floyd so appealing. The changes in the weight of his reactions are very interesting to portray."

[yuurei20]

Leona's VA Umehara Yuuichiro comment from the fanbook:

"That 'languidness,' in particular, is a very important element of stepping into the role of Leona, and I was able to sync up with that, which made it easier for me to play the character. In order to put across how Leona never goes out of his way to become involved with those around him, the director told me to not go overboard with the dialogue.

By 'go overboard,' they meant that I needed to stop saying the lines in a way that sounded like I was trying to get inside the other person’s head.

I had to speak in such a way that it sounded like I was just throwing down dialogue in front of the audience, like dropping a stone at their feet. If I was asking a question, I had to be careful not to phrase it too aggressively.

I couldn’t use the more direct routes of just changing the volume of my voice or altering the speed at which I spoke. I would need to pause and imagine Leona’s mindset as he tries to be evasive, create the right timing and the right voice."

-Twisted Wonderland FanBook vol.1 (2020)

[yuurei20]

Interview with Twst Music Composer Ozawa Takumi from the Soundtrack:

Q: Who is your favorite character?

Ozawa: "When faced with ‘Whose hand will you take?’ at the start of the game, I chose Idia. I enjoyed how he speaks so quickly and uses otaku slang.

As I went through the story I found myself liking so many of the characters. I really liked Jamil in chapter 4, and thought Vil-sama was wonderful in chapter 5.

Currently, in Chapter 7, I like Sebek. He’s loud, but he is so straightforward and he gets cuter every day.

When I saw ‘SSR Sebek [Eternal Night Armor],’ I was determined to get him! I used a set of 10 Magical Keys and was overjoyed to pull him on my first try. I was able to see an even cuter Sebek after groovying the card, and with that he became my oshi character.

Also, when I saw Rollo’s character design, my first thought was ‘this one is a winner!’ His hairstyle and high-strung demeanor are just amazing."

[yuurei20]

Ruggie's VA Ichikawa Aoi comment from the fanbook:

“The most difficult part of recordings was his laugh. I was floundering for a while as I tried to figure out the right kind of laughter, and then the director said, ‘The shi-sh-shi laughter is just pronounced shi-shi-shi.’

I thought to myself, ‘Shi-shi-shi is laughter?’

I remember being nervous about that. Afterwards, I went home and practiced ‘shi-shi-shi’ laughter for quite a while...(laughs).”

-Twisted Wonderland FanBook vol.1 (2020)

[yuurei20]

Interview with Twst Music Composer Ozawa Takumi from the Soundtrack:

Q: Could you tell us about the themes for the dorms, and stories from production?

Ozawa: "The first dorm theme I composed was 'Heartslabyul Dorm' (Disc 2-06). Rather than being an exciting piece, it portrays the strict discipline and sternness of the Queen of Hearts, as well as a sense of having entered a mysterious world. Although the dorm becomes quite lively as the story progresses this theme's key point is that it begins and ends quietly.

The theme 'Savanaclaw Dorm' (Disc 2-11), was the one I struggled with the least. I wanted to express the dry atmosphere of the savanna and the feeling of distant horizons shimmering with heat, so I sampled a variety of chant-like voices.

On the other hand, 'Octavinelle Dorm' (Disc 2-18) was the most challenging theme.

While it has a jazz-like feel, I incorporated an unusual chord progression that is not typical of traditional jazz.

I wanted to create the sensation of floating underwater, so I included noise meant to represent bubbles. I like to think that the use of steel drums helped with capturing the atmosphere of the deep sea.

The theme 'Scarabia Dorm' (Disc 2-22) goes full throttle on producing the types of sounds heard in the Oriental Scale*, and incorporates instruments such as the sitar, a string instrument from India.

I love this kind of music, personally, so I had a lot of fun composing it.

*Translation note: The "Oriental Scale" is an octatonic (eight note) music scale inspired by Middle Eastern music, in which the the 2nd, 5th, and 7th notes of the Major scale are lowered. The word "Oriental" was left as-is in the translation, in order to accurately represent her comment, and because there appears to be no other commonly used name for that specific scale. (Thank you so much to @irafuwas (and friends!) for the music-terminology assistance!)

The theme 'Pomefiore Dorm' (Disc 3-01) gives off a noble and elegant impression. While it features a waltz rhythm, the point is not to evoke a glamorous ballroom dance but rather to emphasize its solid rhythm and a melody that exudes a sense of gallantry.

The theme 'Ignihyde Dorm' (Disc 3-07) is the most unique, I think. It has various sequences that gradually build up to combine into one at the end. Listening to it now, I wonder, 'How is it that I layered all those sounds?' It's a complex piece, and I'm quite fond of it.

The theme 'Diasomnia Dorm' (Disc 3-13) aims to craft a cold, beautiful, and—above all—majestic atmosphere. I wanted to create a piece of music that instills a sense of nervous tension just by listening to it, as if one might incur Malleus’ wrath for the slightest misstep."

[yuurei20]

Interview with Twst Music Composer Ozawa Takumi from the Soundtrack:

Q: ‘RAVE-UP! UP!' (Disc4-37) from ’Stage in Playfulland' is another track that garnered a lot of attention.

Ozawa: "It had a lot of people asking ‘What’s Rave-Up-Up?’ (laughs).

It came from a request for a song that everyone could sing together, with easy-to-remember, catchy phrases, which I struggled with quite a bit.

I tried fitting so many different words to the melody.

While repeating ‘RAVE-UP! UP!’ to myself I found it amusing and catchy, which resulted in the finished song.

There are two versions of this track as well: the full-sized show version by Kita Shuhei-san and Remi-san (Disc4-37), and the version by Ace’s voice actor Yamashita Seiichiro-san, Kalim’s voice actor Furuta Kazuki-san, and Ortho’s voice actor Aoi Shouta-san (Disc4-38).

Each team brings a completely different color to the song. The show version has suspicious-sounding interjections by Fellow’s voice actor Sugita Tomokazu-san, which are also fantastic, and I couldn't help but laugh the first time I heard them! (laughs)."

[yuurei20]

Interview with Twst Music Composer Ozawa Takumi from the Soundtrack:

Q: There is also ‘Wish Resound’ (Disc4-23), which appears in ‘‘Glorious Masquerade ~The Crimson Lotus Flowers and the Bell of Salvation~.’ It's performed by the voice actors for Malleus (Kato Kazuki-san), Azul (Tamaru Atsushi-san) and Idia (Uchiyama Kouki-san).

Ozawa: "I was asked to create something that would sound like it came straight out of a musical.

I explained this to Kato-san, and it became a melodious, ‘Malleus-sama On Stage’ song. Kato-san is able to sing in a completely different style for rock songs, but for this he provided the ideal musical performance.

Tamaru-san also perfectly portrayed Azul’s slightly condescending tone, while Uchiyama-san skillfully put across Idia's withdrawn personality while simultaneously making his voice stand out more than that of anybody else, creating a fascinating and delightful contrast."

[yuurei20]

Interview with Twisted Wonderland Music Composer Ozawa Takumi from the Soundtrack:

Q: How were the individual tracks for the Overblot battles created? (pt1)

Ozawa: "There are no base phrases or sounds that are shared throughout every theme; instead, entirely different tracks were created based on each individual character. I took the unique anger and sadness each character must have felt according to how it was that they were driven to overbold, and expanded upon it."

‘Showdown in Heartslabyul’ (Disc2-10) was where Riddle, always so suppressed, explodes with the regret of everything that he was denied as a child. Rather than an eerie aura there is a rhythm sharply carving out its own way to portray his anger and sadness.

Leona's ‘Showdown in Savanaclaw’ (Disc2-17) was based on a lion running through the savanna. After creating the first version I also submitted another with more melancholy, as I felt the initial incarnation was possibly too bold and did not properly convey the depths of Leona's frustration and sorrow.

But the first version was highly praised and ultimately selected for the game. Leona's overblot is characterized more by anger than it is by sadness.

It inspires imagery of Leona charging valiantly ahead, despite his rage, which makes me feel that the initial version was indeed the right choice.

Azul's ‘Showdown in Octavinelle’ (Disc 2-21) has a jazziness that is reminiscent of the dorm's theme.

To represent writhing octopus tentacles I used arpeggios (broken chords played one note at a time) on the piano and I was surprised to later learn that arpeggios were also used to represent the sea in the original ‘The Little Mermaid.'"

[yuurei20]

Interview with Twisted Wonderland Music Composer Ozawa Takumi from the Soundtrack:

Q: The theme songs of the three schools from the story have been included as well.

Ozawa: "The 'Night Raven College' (Disc1-24) track, designed with NRC itself in mind, was initially supposed to have a more mischievous atmosphere.

But since it is the theme for the school I also wanted it to have a touch of elegance, so I incorporated a waltz-like feel. I think it reflects the design of the school uniforms and the main theme, 'Theme of Twisted-Wonderland,’ as well."

"'Royal Sword Academy' (Disc1-25) has a dazzling, sunny atmosphere. My instructions were to create a sparkling song, which was the complete opposite of everything else I’d been doing, so I remember struggling to make it sparkle enough.

Ultimately I arrived at this atmosphere of a heroic, sword-wielding prince on horseback to suit the white school uniforms worn by the students."

"The theme song of Noble Bell College, attended by Rollo Flamme and featured in the limited-time event ‘Glorious Masquerade ~The Crimson Lotus Flowers and the Bell of Salvation~,’ titled "Noble Bell College" (Disc4-21) was inspired by ‘The Bells of Notre Dame,’ so I definitely wanted bells involved.

It starts with a somewhat heavy bell sound to portray how high strung Rollo is. The event's music emphasizes solemness, heavily incorporating a mixed chorus of about eight men and women."

[yuurei20]

Interview with Twst Music Composer Ozawa Takumi from the Soundtrack: Q: How about the events, for which you are always creating new music? Ozawa: "For the first event, ‘Happy Beans Day ~Reclaim the Golden Harp!~’ and the event of alternative perspectives ‘Happy Beans Day ~The Harp-less Brawl~,’ I kept things fresh by changing how the instruments were incorporated while maintaining a consistent atmosphere, pace and genre."

"I watched ‘Mickey and the Beanstalk’ for inspiration, and there are subtle homages paid via some of the phrases that I used."

"I used ��Steamboat Willie’ (similar to ‘The Turkey in the Straw’) for ‘A Banger of a Show!’ (Disc4-18) in ‘Port Fest ~Brass Beat of the Sea Breeze~'."

"The 3 tracks from ‘Fairy Gala ~Festival of the Spring-Calling Fairies ~’ ‘(Walk That Runway!’ (Disc3-23), ‘Learn Those Moves!’ (Disc3-24) and ‘Stun at the Fairy Gala!’ (Disc3-25)) share a consistency while also being different from one another, and I'm fond of all three."

"Leona (the SSR) had a glamorous atmosphere completely different his usual self, which I think I was able to portray through a track reminiscent of dancing fairies."

"‘Demonstrate Your Skills!’ (Disc4-02), ‘Show Off Your New Moves!’ (Disc4-03), and ‘Shine at the Fairy Gala!’ (Disc4-04) from ‘Fairy Gala if ～A Festival of Illusions with Fairies～’ also maintain a consistent theme while the music itself evolves. I incorporated digital-like sounds as a nod to Ortho’s involvement."

[yuurei20]

Interview with Twst Music Composer Ozawa Takumi from the Soundtrack:

Q: How did you first come to be involved in the music for Disney’s Twst?

Ozawa: "Aniplex reached out to me in the summer of 2018, I submitted about four demo tracks, and that is how it all began.

The first track I created was the main theme that plays at the login screen, 'Theme of Twisted-Wonderland' (Disc 1 - 01). I looked through the materials for Twst for the first time and immediately thought, 'Let's use this sound!’

My aim for the song was to portray a glamorous dark fantasy. The track starts with a bell-like sound, followed by a chorus, creating a composition that is both cute and mysteriously heavy.

I often use bells in my music for Twst because they can convey a sense of glamour but also a dark weightiness. I also had the thought that bells can help set the stage of the academy where the story takes place. I used different types of bells to produce various timbres.

The other tracks I submitted as a part of the demo were 'My Room' (Disc 1 - 02), which plays on the home screen and was inspired by Ramshackle Dorm, 'College Days' (Disc 1 - 23), a versatile track used in scenes portraying daily life and the rhythmic track 'Escape the Ghosts!' (Disc 2 - 05) from the prologue."

[yuurei20]

Interview with Twst Music Composer Ozawa Takumi from the Soundtrack:

Q: Could you tell us about the production process?

Ozawa: "First, I receive a list of requests. Sometimes there will be specific instructions such as 'This is going to be key, so please include this kind of sound.’ For example, for the limited-time event 'Stage in Playfulland: Dancing Dolls and the Amusement Park of Illusion,’ I received the request ‘include whistling’ for the track 'Fellow and Gidel' (Disc 4-35).

To start, I create a digital demo track based on those requests. I’ll receive feedback on the demo, record with musicians and complete it. Most of Twst’s demos received immediate approval, for which I am grateful, but it can also make me nervous as the creator (laughs).

Sometimes Toboso-sensei will kindly share her thoughts on the music, and I really appreciate her encouragement. I have heard that she will write while listening to my music, and I am so glad that I can contribute in such a way.

A lot of the instruments that we use are, naturally, those that are commonly found in orchestras. On tracks related to Scarabia I used instruments commonly used in folk music, for the limited-time event 'Lost in the Book with Stitch: Summer Seas and Spaceships' I used instruments that produce sounds reminiscent of Hawaii, and for 'Master Chef' I used an old-fashioned, honky-tonk piano. I also use flutes and piccolos quite often to better portray the fantasy-like nature of the world."

[yuurei20]

Interview with Twst Music Composer Ozawa Takumi from the Soundtrack

Q: Are there any other unique challenges to this project?

Ozawa: "In terms of the 'villains' theme, in the early stages the music tended to all sound the same, so differentiating between the dark tones became a process of trial and error.

As the story progressed I became more familiar with the characters and gained a strong sense of who they each are, so now I feel as though the music can effectively portray the differences between each person and each dorm.

‘Twst’ is my first time making so much music for a single project over such a long period of time—I have already composed over 200 tracks—and it is a daily challenge for me.

Every single time I will think, ‘I don’t have anything else left in me…!’ and every time I am able to overcome that hurdle, thanks to everyone’s support.

Whenever I hit a roadblock I listen back to the Twst tracks that I have already composed, think to myself, ‘How did I do this last time?’, and try to return to that space.

I am the type of person who loses all confidence whenever they hit a snag, so I encourage myself by repeating, ‘It’s going to be all right! You’re doing this, you’re doing this!’"

[yuurei20]

Interview with Twst Music Composer Ozawa Takumi from the Soundtrack:

Q: Do you have a message for everyone?

Ozawa: "Thank you all for your patience! I am so happy that you are now able to hold the Twst soundtrack CD in your hands and listen to the music anew.

I hope you all are able to enjoy it in your own way, creating playlists of your favorite songs. It would be wonderful if everyone were able to immerse themselves in the world of Twst through its music, and to feel as though all the characters are right there by your side."

[yuurei20]

Interview with Twst Music Composer Ozawa Takumi from the Soundtrack:

Q: What sort of thing do you generally keep in mind during production?

Ozawa: I am careful about arranging the melodies and atmospheres in such a way that listeners will be able to feel the influences of the original works that inspired them.

During production, though, I try to maintain a bit of distance from the original music upon which the tracks are based. If I focus too much on remaining true to the original music there is a risk of the final product being too close of an homage, as I love the original works so much…

Since some tracks are used over and over again in stories and events I aim for a balance of leaving a strong impression but not so much so that it becomes repetitive, while also not interfering with story progression or dialogue.

Sometimes I will be too cautious and the music will start sounding generic. I have found that getting just to the point where I suspect I am going too far tends to be just right. I pay careful attention to maintaining that balance."

[yuurei20]

Interview with Composer Ozawa Takumi from the Twst Fanbook (pt 11/11)

"Interviewer: Have you always liked Disney movies?

Ozawa: Yes! I love the bewitching 'Aladdin', and how fun its songs are. I was shocked by 'Maleficent', which changed my view of villains entirely. I also like Tim Burton's 'The Nightmare Before Christmas', also because it is bewitching and the parts that pull at your heart strings. I have collected a lot of Jack Skellington merchandise.

Interviewer: Do you go to the theme parks?

Ozawa: I loved the 'Haunted Mansion’s Holiday Nightmare' with Jack during Halloween. I used to go once a month. I would arrive at the park in the morning and craft a strategy for visiting all the attractions and things in the most efficient way before it closed.

Interviewer: Are you a villainous person yourself (laughs)?

Ozawa: I sympathize with and am drawn to villains because I scare easily and have no self-confidence. Also because they each have their own reasoning for what they do, their own circumstances and their own sense of justice. Whether it is right or wrong varies by situation. It can be hard to know if the 'righteous' side is really that 'righteous' at all.

Interviewer: A word to your fans!

Ozawa: Thank you for all the enthusiastic feedback on SNS. Everyone’s encouragement is what keeps me going. I am so happy to hear that there are people learning to play the songs by ear.

I think Twst can make you feel like you're at Disneyland without ever leaving your home. That's how I feel when I write songs for it. If you have never tried the game, I would be happy if you could try approaching it as if it’s another Disney theme park."