You are listening to the Next Best Picture podcast, and this is Brandon Hodges' interview with the composer for Boy, Perron, Joe Hassata.

Oh, Kassad. I'm... Ah! Oh!

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here.

You're So I'm here with Joe Hiseashi-i-she-she-she. Thank you so much for speaking with me tonight.

And it's hard to think of Haya Zaki's films without also thinking of your music. So after all these years

working together, what makes your collaboration so unique? Yes, yes, I think so. Yeah,

so it's a little hard to talk about what makes our collaboration unique, but this is, I think, the 12th film that I have scored for Miyazaki, and each of them we start from zero, because they're each very different films. And I think the work that we've done has just accumulated over those, the

films that we've worked on together. And I know that Miyazaki's films have,

are very highly regarded. And so I feel very honored to have been able to be part of that process. Yeah, beautiful. So I'm wondering if every time you start from zero, what was the process then like on the boy in the heron? How did you begin that process? Do you see storyboards? How early do you join?

Things like that.

Normally, when we work together on a film,

I see the film when it's about halfway through.

I see when it's about halfway done.

And also I see the storyboards and we have meetings where we have explanations about

what the film was about and discussion between the director and the composer as to what the music should be like.

But this time, I did see the film at all

until it was about 95% done in July 2022.

And only at that point, then, did I see the storyboards as well.

And I think it was that Mr. Miyazaki was concentrating on

...