Does Hattroi not a man of words but a man of vision? I always assemble my arrangements visually. If that work is taken away from me, it’s like taking away more than half of what makes it worthwhile.
-What was particularly impressive about the finished film itself?
Hattori: (Director) Mr. Chihara said, “This is not a movie. He is an art director and designer, so it was more like art, and I thought the angle of view in all the cuts was very interesting. Even in scenes that would normally be easier to see if they were pulled back a bit more, you would say, “I guess they wanted to show the strong colors even if it meant eliminating the ease of viewing.
-Is there a scene that left a particularly strong impression on you?
Hattori: I liked the scene in the public bath. The atmosphere there was a bit different, and the location was a bit strange. The location was also a bit disconcerting. While the whole scene was stylish and fashionable, it was interesting to see a scene that suddenly became a commoner’s scene.
I also wanted to ask you about your visual and visual sensibility. The lyrics of “Macaroni Pencil” are highly acclaimed, and I think many people think of Mr. Hatori as a “wordsmith,” but after interviewing him so far, I find it interesting that he is surprisingly unaware of this. I heard that you had originally intended to become a manga artist alongside your music career, and that you have had more exposure to movies and animation than to printed matter.
Hattori: I think I see everything in terms of images. People who are not good at drawing draw flat things, but I have been drawing three-dimensional things since I was a child, and I remember my father being impressed by that.
I remember my father being impressed by my drawing. I am the main arranger for Macaroni Pencil, and I have never asked anyone else to arrange the band’s music. If this work were taken away from me, it would be like taking away more than half of what makes it worthwhile. For me, arranging has replaced drawing. The arrangements are always assembled visually.
-Do you have an abstract image for each song, or do you have a more specific image in mind, such as a DTM screen, or a picture of a band playing together?
Hattori: That’s all of them already. As you say, even when I am not recording at home, I can see the DTM screen in my mind. The tempo numbers, track waveforms, and grid lines are always floating in my mind, even when I’m arranging in the studio.
There are moments when I imagine playing live, and most often at ……, I have an image of “that feeling of that song by that band. The moment I imagine it, I can already see the finished product, and then I think, “How can I bring it to that point with these instruments in the studio?
Hattori: But on the way to that point, something unintentional happens. The batteries in the effector were about to run out, and the sound became thin. But this thin sound is surprisingly good, so I enjoy going on to different arrangements, such as, “Put this note in the intro and play it like this. And so the recording sessions became longer and longer (laughs).
(Laughs). But it is very visual, isn’t it?
Hattori: It was the same when I was drawing. I had a vague idea of what I wanted, but as I drew, I kept thinking, “What is this? I would start thinking, “What’s this? But that “What is this? is what makes the expression enjoyable for me. Singing and writing lyrics are not expressions that entertain me. If the arrow only pointed outward, it would be hard for me. I feel that only the hard part of making things will grow and grow and grow. Instead, I think that arranging songs and drawing pictures is something that “I also enjoy”.