BY CHRISTOPHER LEON WITH STEPHANIE ESLAKE
If you think of the best-loved cinematic franchises of all time, the worlds of Studio Ghibli and Harry Potter immediately spring to mind.
Tokyo-born singer and lyricist Mai Fujisawa has forged her career across both of these fantasy universes — which is an honour most artists would only dream of.
Her screen music debut also marked a beginning for the globally loved Studio Ghibli itself: at just 4 years old, Mai sang a requiem in its 1984 animation Nausicäa of the Valley of the Wind. The music was composed by her father Joe Hisaishi; also the father of the Studio Ghibli soundworld in the decades to come.
Fast-forward to 2012 and Mai’s voice could be heard opening Harry Potter and the Deathly Hallows — Part II, and later, on documentary Paper Lanterns, anime Ojarumaru, and drama Clouds Above the Hill.
Mai’s remarkable and recognisable voice is celebrated in 2019 through her first Australian solo tour, and we caught up ahead of the occasion.
Hello Mai Fujisawa, thank you very much for taking the time for our interview. It’s an honour to learn about your experience in film music. You started when you were 4 years old with Nausicäa! How do you feel having grown up while singing the beautiful soundtracks to so many childhoods all around the world?
At the time of recording, I of course did not expect such turnout and that so many people all over the world would be listening to that piece for such a long time. I very much appreciate and am happy to know that the song is loved by people.
Your relationship to the music of Studio Ghibli has been truly life-long. What is your favourite Studio Ghibli soundtrack?
Nausicäa!
Having started your career with this studio, how would you describe the impact of your father Joe Hisaishi’s music on your own identity and development as an artist?
Ever since I was born or I can remember, my father’s music was there — I mean I was surrounded by his music at all times. It certainly played an important role in developing my identity as an artist.
I started playing the piano at the age of 2, and choir career just after I sang Nausicäa. Both I continue to this date.
When I hit a wall in the arrangement, writing lyrics, etc. he always guides me in the right direction.
What was it like to start in this industry in your childhood? We often hear about child actors, but not so often about children contributing to soundtracks!
After I sang Nausicäa‘s song, I did not get involved in the music industry for a long time. During that time, I had a relatively ordinary school and personal life, doing what everyone else was doing.
In my 20s, I started associating with my singing career again.
You’ve also entered into game, having sung on the Ni no Kuni soundtrack. What was it like to reunite with your father again for this music?
Mr Hino, who is the CEO of Level Five, was the one to offer me to sign this title song, which was such an honor. I am not too sure if my father originally had me in his mind, but anyway, Mr. Hino convinced him.
The song was melancholic and I was emotionally attached to it. Also, the fact that the lyrics were from Mamiko Suzuki — Ghibli producer Mr. Suzuki’s daughter — made it even more special.
From an industry perspective, what are some of the differences between singing for game compared to screen?
For Ni no Kuni, it was the ending song, which means players need to complete more than 120 hours and then finally they hear my voice. It is very different from two hours’ film, in that sense.
Your performance combines Japanese and Western musical elements. Who are some of your favourite vocal talents, or who has influenced you in your own style along the way?
Burt Bacharach, Sting, Beethoven, [Poulenc], and more!
How important do you feel is the role of music when it comes to world-building in film and game?
I firmly believe that the roles music plays are as important as directing, story and casting for the film. The good story moves people, especially when it is accompanied by the right and great music.
I have not been a big game-player, so I want to learn more about game music in the future!
You will be the one to continue the legacy of your father’s music, but have also carved out such an influential path yourself, independently. What would you like to see for the future of music in Japan’s screen industry? What legacy would you like to leave?
I am not necessarily restricting my stage to be in Japanese film or music, but work I can deliver and leave in the world definitely is largely influenced by my origin as Japanese and the surrounding culture I grew up in.
I sang the opening theme of Harry Potter and the Deathly Hallows – Part 2. And the person who gave me the offer was Alexandre Desplat, a French composer who was in charge of the soundtrack and [has won Oscars for] Best Original Score. He described my voice as a mysterious voice with the combination of ‘Oriental and Western elements’. Perhaps my voice is unique to myself, but I believe being Japanese is a major underlying factor to have such a voice.
This is just one example. But I hope and am passionate about bringing various cultures together like this, and continue to provide more and more opportunities for people all over the world to listen to such music.
Melody of Japan: Animation, Film and Classics with Mai Fujisawa takes at the 7.30pm November 14 in the Melbourne Recital Centre, 7.30pm November 15 at Robert Blackwood Hall, Monash University, and 7.30pm November 16 at State Theatre Sydney.
Follow the tour on Facebook. It is presented by Castiglione Arts and Culture.
Images supplied.
