In this latest series of interview translations, ATMA & Funomena will be presenting comments and observations of three prominent voices from the production of Violet Evergarden, starting with director Taichi Ishidate.
These translations are offered to fans of the series as material supplements for the upcoming making-of documentary-style video by the YouTube channel Under the Scope.
The original interviews were conducted and published in the Violet Evergarden Official Fanbook.
An instant crowd-pleaser, in spite of the disjointed international release schedule by Netflix, Violet Evergarden is a labour of love for the tight-knit Kyoto Animation team. In search of music that can reflect the quiet intensity of the melodrama on display, Japan-based American composer Evan Call was instructed to construct the sentimental anchor of the entire production.
The following is a translation of the interview printed in the Violet Evergarden Original Soundtrack booklet, conducted with the composer and series music producer Shigeru Saito.
I want to start by talking about a single shot in Violet Evergarden’s debuting episode.
Violet’s reflection in the clock implies two things: her current state of mind, as well as certain potential, if one takes into account Violet’s first real display of agency in this scene.
A clock as a tool for telling time is mechanical and rigid by nature, its function defined by a single need. Violet was a child soldier who has known nothing but to take orders and acting on them: her function defines her, encroaching her behind a transparent cage.