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Twitter user and Jujutsu Kaisen fan and news source @JJKContent (JJK Content) tweeted a translated interview thread with Yoshimasa Terui. Terui is one of the official soundtrack composers for Jujutsu Kaisen and has worked on the first season of the television anime adaptation and the 0 film.
The interview sees Terui discuss his work and process in making music for previously aired Jujutsu Kaisen projects, including trailers for the television anime’s upcoming second season. Unfortunately, there isn’t much discussion about the second season, in particular, which is somewhat disappointing for fans, though a little expected.
Jujutsu Kaisen composer discusses process, mental images created when writing music, and more
The interview begins with the interviewer asking Terui what image he had in mind when creating music for the character introduction preview for the second season of Jujutsu Kaisen. Terui explains that the second half of the preview features important characters such as Toji Fushiguro. He wanted to emphasize the contrast between the two halves by restraining the music.
Terui’s hope in doing this was the audience would feel the “intensity of the battle,” likely referencing the in-preview conflict of known characters’ pasts versus new character intros. The interview then begins discussing the series’ first season, where Terui reveals that he had not thoroughly read the series’ manga before being offered the job.
However, he does emphasize that he bought and read all available volumes before starting work on the series. Terui adds that he particularly enjoyed reading about Nanami Kento, calling it especially memorable because he made the accompaniment for Nanami’s anime scenes. Terui also shares that he particularly enjoys Toji Fusihiguro, whom he calls “Papguro,” from the second season.
Terui also explains how he believes that the aspect of client work comes first with the theatrical accompaniment, meaning that doing what showrunners want is above all else. He goes on to say that the first thing composers must think about is giving shape to the vision of the directors, sound directors, and music producers on a certain project.
Terui discusses how his fellow composer colleagues had theatrical experience, and he didn’t, which resulted in leaning on them during Jujutsu Kaisen 0. He claims he started asking his peers how they were planning to write their scores for the film, using external references as he thought about what to write.
Terui adds that the differences between the theater and TV versions consist of increased orchestration and the “creation of a grand image with a theatrical feel.” He describes his TV style as “dense” and “intimate,” whereas he wanted his theatrical style to be like an “organic, grand orchestral sound.”
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