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2013 年初，我们采访了 Agus Gonzalez-Lancharro，他是一家新的预告片音乐公司的创始人，非常有前途的 Really Slow Motion。他们的第一张专辑 Cosmogeny 即将发行。一年半之后，Really Slow Motion 的音乐已经出现在各种电影广告活动和著名预告片中，而且他们的音乐库还在不断扩大。在这次新采访中，Agus 谈到了 Really Slow Motion 的一些主要安排，以及几个令人兴奋的新项目……

Trailer Music News：您能告诉我们一些关于您在您创立的公司 Really Slow Motion 担任创意总监的情况吗？典型的一天是什么样的？

阿古斯·冈萨雷斯-兰查罗： 典型的一天？？？疯狂！！！正常的一天包括与管理此类业务相关的所有事情。我通常在英国时间早上 9 点左右开始工作，查看夜间堆积的电子邮件。然后我转向音乐监督、反馈和音乐制作。在那之后，也许我需要去银行或参加会议，所以我通常会尽量安排在午餐时间之前或午餐时间进行，这样我就有时间在 4 点之前回到办公室继续处理事情-5am，意思是太平洋时间早上 8 点到 9 点，这是真正开始变得疯狂的时候，通常会一直持续到英国时间凌晨 3 点到 4 点。报价请求、词干请求、音频版本、自定义查询、发票和协议编写、电话、Skype、更多监督、生产……我认为我所做的最重要和最紧张的部分是来自客户的定制订单。同时管理所有这些可能会变得非常疯狂并且可能是巨大的责任但是……到底是什么……！我喜欢它！！

TMN：你的音乐背景会影响你对预告片音乐行业的看法吗？

AGL： 完全。事实上，我不听预告片音乐，或者只是出于个人兴趣而很少听，而不是作为研究。我喜欢各种音乐。我从一个非常不同的世界进入电影/广告行业，仍然是音乐剧，但非常不同。我曾为流行艺术家、福音乐团、摇滚乐队、蓝调三重奏、弗拉门戈、拉丁、放克、融合……甚至是健身房划船机的舞曲录制/表演/写作！拥有那种类型的背景可以为您提供不同且更丰富的视角，而且我不仅仅是在谈论音乐，它不仅仅是音符和声音。如果你不听音乐，你就不能假装成功地制作了音乐。

尝试从音乐角度分析这个行业，您可以认为它融合了当代音乐的多个方面。我们试图销售一种产品，在这种情况下，试图让人们去剧院，所以流行公式及其商业方法必须以某种方式存在。对于能量，您可以加入一点摇滚乐，对于情感，一些现代 R&B 可以做到。此外，电子元件现在是一种必需品。大多数时候，棘手的部分是尝试用管弦乐安排来做到这一点。在我看来，正是大多数人弄错的地方。你不能把商业曲目当作电影乐谱来对待，让我们面对现实吧，我们正在帮助销售产品，你需要这样推销它，所以你必须绕过它才能发出管弦乐队的声音商业的。它不需要是管弦乐，但无论你做什么，它都必须以某种方式商业化。视频编辑可以通过正确的轨道创造奇迹，例如让全世界数百万人自愿去看电影。我肯定认为，如果我只听预告片音乐，而不是最好的，我对音乐和制作会有完全不同的看法。

TMN：你为美国队长的广告活动定制了音乐。你能告诉我们更多关于定制音乐的过程吗？

AGL： 那些太有趣了！尽管到目前为止，这是我工作中最累人的部分，而且常常导致一分钱都没有，但在做定制时，您真的会觉得自己在业务中占据了双脚。这些电话以不同的形式出现。可能是工作室要求您出租和买断作品，可能是拖车房要求您从头开始做某事，或者他们可能要求您提供您一直在做的任何草稿，而您必须根据客户的规格。有时可能发生的一种情况是，当他们要求对乐队或艺术家的热门歌曲进行混音时。您可以直接从唱片公司或艺术家那里获得原始项目，然后按照编辑器的说明进行改编。您会为此获得报酬，但许可权归乐队或艺术家所有。定制球杆的制作是一个非常复杂的过程，有大量的来回、修改和“现在就赶，再等几周”。这也可能非常令人沮丧，因为有时工作量太大，充满了甚至可能无处可去的夜班。

与剪辑预告片的创意人员密切合作是非常有益的，并且可以大大丰富您的知识。“性别”的准备只在很多方面教会了我很多。从制作到视频编辑，再到极其紧迫的截止日期。自从那次演出发生以来，我们已经做了很多习俗，我学会了以不同的方式处理它们。有时就像攀登一座无法登顶的山峰。当您认为自己完成时……需要添加或替换更多内容。谈论美国队长定制……客户希望音轨在提示的后端有很多低音，但就频率和声音制作而言，低音越多，音轨最终产生的一般影响就越小。他们还想保留巨大的低音和“在你脸上”的效果。好吧，最后我们成功了。几天后，我收到了客户的一封电子邮件，说：“别杀了我，但我们需要在我们现在拥有的真正低音后端之上添加一条额外的低音线”。再一次，我们成功了……不知何故！！！像这样的事情一直在发生，无论如何你都必须准备好为他们提供服务。

TMN：Really Slow Motion 的音乐已被用于各种广告活动，尤其是歌曲“Shredder”，出现在众多预告片、预告片和电视广告中。到目前为止你最喜欢的位置是什么？

AGL： 我真的很喜欢其中的一些。Universal Pictures 的第一个Oblivion很特别，还放置了 4 首在 2014 年超级碗期间为超凡蜘蛛侠 2播出的曲目。这完全出乎我的意料，因为我不知道索尼影业计划在全球数百万人观看的如此盛大的活动中发行它们。

美国队长：冬季士兵也在超级碗上发布，其中包含我们的提示，但我有点期待，它并不像其他 4 个那样令人惊讶。如果我真的必须选择……它就是现在的那个作为定制提示正在制作中。显然，我现在还不能说出任何关于它的事情，但是和一些朋友一起度过一个晚上，用麦克风为 2015 年的大片录制一些疯狂而令人毛骨悚然的窃窃私语真是太有趣了。如果得到确认，它将成为我的#1。

以“碎纸机”为特色的遗忘 电视广告：

TMN：你最近开始了一个名为 GiantApes 的目录，该目录与专辑Exitium一起首次亮相。这个新目录有什么特点？

AGL：  GiantApes 和 Really Slow Motion 目录的其他部分之间的主要区别在于后者也照顾粉丝。在大多数发行版中，我们包含了一些对粉丝友好但不太适合放置的曲目，因为它们对编辑器并不完全友好。GiantApes 只关心位置。当然，也有适合聆听的曲目。事实上，我们的粉丝发行版Fiery The Angels Rose中包含了其中的几个，但 GiantApes 的主要目标显然是该行业，而它的下一个系列，Incendus，在我们说话时正在掌握中。

Exitium专辑预览：

https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/148038412&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false

TMN：第二个目录，Epic North，正在准备中。它的第一张专辑Arcadia将在几个月后发行。这个新项目的目标是什么？

AGL： 我对这个新目录感到无比兴奋。一些 Epic North 成员已经出现在 Really Slow Motion 专辑中，但在与 Pauli Hausmann 和 Miro Laiho 交谈后，我们认为如果我们联合起来共同制作一系列专辑，对每个人都会有益。我们同意 Epic North 将由 Really Slow Motion 制作和出版，作为他们自己的 Epic North 目录。正如我已经提到的，我们的大部分目录都提供针对行业的曲目，但也制作了一些曲目来满足粉丝。Epic North 拥有不断增长的粉丝群，我们需要不断为他们提供支持，同时还要有很高的投放期望。阿卡迪亚的足迹必须同时满足质量标准、行业和拖车社区。我们在赛道上非常挑剔，还有很多工作要做，但它肯定会摇滚。奥丁的那些儿子是一群天才，你知道的……

来自阿卡迪亚的预览曲目，“世界之树之歌”：

https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/130902279&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false

TMN：在收到很多歌迷的要求后，你决定发行你的第一张公开专辑《Fiery the Angels Rose》。你打算在未来做更多的公开发布吗？

AGL： 确实！！我真的等不及了。在今年年底之前，我们将发行一张新专辑，其中包含可以公开的最优美的曲目。在过去的 6 个月里，我们制作了 9 张专辑，其中有很多我相信粉丝们会喜欢的东西，同时为客户保留我们的独家东西。

TMN：除此之外，你对未来有什么特别的计划吗？

AGL： 我们需要充分利用势头，以明智的方式扩展 Really Slow Motion。这是一个快速发展的行业，我们需要稳固地融入其中。必须分析和考虑任何新机会，因为您永远不知道拐角处有什么在等着您。我们在视频游戏上没有太多安排，所以让我们看看我能在这方面做些什么。

TMN：你还有什么想和我们分享的吗？

AGL： 当我得知自己成为“2013 年度最佳公司”类别奖项中投票最多的公司时，我简直不敢相信自己的眼睛。所以……我真的要感谢你们所有人，TMN 社区和粉丝，感谢你们的投票和所有支持！我无话可说！！！我真的希望我们以后不会让你失望。

TMN： 谢谢阿古斯！祝你的项目好运！

Really Slow Motion: Interview with Founder & Creative Director Agus Gonzalez-Lancharro

Author: Clothilde Lebrun

In early 2013, we interviewed Agus Gonzalez-Lancharro, the founder of a new trailer music company, the very promising Really Slow Motion. Their first album, Cosmogeny, was about to be released. A year and a half later, Really Slow Motion’s music has already been featured in various movie advertising campaigns and prominent trailers, and their library keeps expanding. In this new interview, Agus talks about some of Really Slow Motion’s major placements, as well as several exciting new projects…

Trailer Music News: Can you tell us a bit about your role as creative director at Really Slow Motion, the company you founded? What’s a typical day like?

Agus Gonzalez-Lancharro: Typical day??? Madness!!! A normal day includes a little bit of everything related to managing such business. I usually start working around 9am UK time, checking out emails that piled up during the night. Then I move on to music supervision, feedback and production of music. After that maybe I need to go out to the bank or a to a meeting, so I usually try and arrange it to happen right before or during lunch time so that gives me time to go back to the office and keep working on stuff before 4-5am, meaning 8-9am Pacific time, and here is when things start to go crazy for real and usually runs like that up until 3-4am, UK time. Quote requests, stem requests, audio editions, custom enquiries, invoice and agreement writing, phone calls, skype, more supervision, production… I would consider that the most important and intense part of what I do are the custom orders from the clients. Managing all that at the same time can get incredibly crazy and can be huge responsibility but… what the heck…!! I love it!!

TMN: Does your musical background influence your view of the trailer music industry?

AGL: Totally. As a matter of fact, I don´t listen to trailer music or just very little of it out of personal interest, not as research. I like all kinds of music. I landed in the film/advertising industry from a very different world, still musical, but very different. I have recorded/performed/written as instrumentalist for pop artists, gospel ensembles, rock bands, blues trios, flamenco, latin, funk, fusion… Even dance music for rowing machines at gyms!!!! Having that type of background can provide you with a different and way richer perspective, and I´m not just talking about music only, there´s much more to it than only notes and sounds. You can´t pretend making music successfully if you don´t listen to music. You would be surprised to know the humongous amount of people that I have encountered during the years that are trying to make a living out of playing an instrument or composing music that don´t even listen to music at all… And that´s definitely not the way to go.

Trying to musically analyze this industry, you could consider that it blends several aspects of contemporary music. We are trying to sell a product, in this case trying to get people going to the theaters, so the Pop formula and its commercial approach has to be there somehow. For energy you throw in a tad of Rock, for emotional some modern R&B can do. Also, electronic elements are sort of a must nowadays. Most of the time, the tricky part is trying to do that with orchestral arrangements. In my point of view, there is exactly where most people get it wrong. You can’t approach a commercial track as if it was a movie score, let’s face it, we are helping to sell a product, you need to market it as such, so you have to make your way around it to make an orchestra sound commercial. It doesn’t need to be orchestral but whatever you do it has to be commercial, in some way or another. Video editors can make wonders with the right track, such as getting millions of people all around the world going to the movies by their own free will. I surely think that I would have a completely different perspective of music and production if I only listened to trailer music, and not for the best.

TMN: You customized music for the Captain America advertising campaign. Can you tell us more about the custom music process?

AGL: Those are so much fun!!! Even though it is, by far, the most exhausting part of my job and more often than not it leads to no money at all, when doing custom you really feel you have your two feet in the business. Those calls come in different shapes and forms. It might be the studio asking you for a work for hire and a buyout, it might be a trailer house asking you to do something from scratch, or they might ask you for any draft you have been working on and you have to shape it under the client´s specifications. One situation that can happen sometimes is when they request a remix of a hit by a band or artist. You get the original project from the label or the artist directly and you adapt it following the editor instructions. You get paid for it but the license goes to the band or artist. Production of a custom cue is a very complicated process, with plenty of back and forths, revisions and the “rush now and wait for weeks”. It can be very frustrating too, because sometimes the effort is too much, full of night shifts that may even lead to nowhere.

Working closely with the creative people cutting the trailers is highly rewarding and can enrich your knowledge big time. The preparation of “Gender” only taught me a lot in so many ways. From production, to video edition, to incredibly tight deadlines. Since that gig happened we have done quite a few customs and I learned to approach them differently. Sometimes it is like climbing a no-summit mountain. When you think you are done… more stuff needs to be added or replaced. Talking about the Captain America custom… The client wanted the track to have a lot of bass in the backend of the cue but, in terms of frequency and sound production, the more bass you have the less general impact the track end up having. They wanted to keep the huge bass AND the “in your face” effect, too. Well, at the end we managed to make it. Days after, I received an email from the client saying: “Don´t kill me, but we need to add an extra bass line on top of the really bassy backend that we have now”. Again, we made it… somehow!!! Stuff like this happens all the time and you have to be ready to deliver for them no matter what.

TMN: Really Slow Motion’s music has already been used in various advertising campaigns, and particularly the track “Shredder”, featured in numerous trailers, teasers and TV spots. What is your favorite placement so far?

AGL: I really enjoyed some of them. The very first one on Universal Pictures, Oblivion, was special, and also placing 4 tracks that were broadcasted during SuperBowl 2014 for The Amazing Spider-Man 2. That was totally unexpected since I had no idea that Sony Pictures was planning to release them on such a big event, watched by millions all over the world.

Captain America: Winter Soldier was also released on SuperBowl containing our cue, but I kind of expected that, it wasn´t such a surprise as those other 4. If I really had to choose… It´d be the one that is right now in the making as a custom cue. I obviously can´t tell anything about it just yet but it was so much fun spending an evening with some friends around a microphone to record some crazy and very creepy whispers for a huge 2015 blockbuster. If that gets confirmed it will be my #1.

Oblivion TV spot featuring “Shredder”:

TMN: You recently started a catalog called GiantApes, which debuted with the album Exitium. What are the particularities of this new catalog?

AGL: The main difference between GiantApes and the rest of the Really Slow Motion catalog is that the latter one also takes care of fans. On most of the releases we include several tracks that are fan-friendly, but not so good to place because they are not full editor-friendly. GiantApes only cares about placements. Of course, there are tracks that can be good for listening, too. In fact, a couple of them are included in our fan release Fiery The Angels Rose, but GiantApes´s main goal is clearly the industry and the next of its series, Incendus, is being mastered as we speak.

Exitium album preview:

https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/148038412&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false

TMN: A second catalog, Epic North, is in preparation. Its first album, Arcadia, is due out in a few months. What is the goal of this new project?

AGL: I am incredibly excited about this new catalog. Some of the Epic North guys were already featured in the Really Slow Motion albums but after some talks with Pauli Hausmann and Miro Laiho we thought that it would be beneficial for everybody if we joined forces and work together in a series of albums. We agreed that Epic North will be produced and published by Really Slow Motion as their own Epic North catalog. As I already mentioned, most of our catalog offers tracks aiming the industry but some tracks are produced to satisfy the fans, too. Epic North has a growing fan base that we need to keep feeding, as well as having high placement expectations. Tracks on Arcadia have to meet both quality standards, industry and trailer community. We are being very picky on the tracks and there´s a lot of work left to do still, but it will rock for sure. Those sons of Odin are a talented bunch, you know…

Preview track from Arcadia, “The Song of the World Tree”:

https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/130902279&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false

TMN: After receiving many requests from fans, you decided to release your first public album, Fiery the Angels Rose. Do you plan to do more public releases in the future?

AGL: Indeed!! And I literally can´t wait for it. Before the end of the year we will release a new album with the most beautiful tracks that can be revealed. We have produced 9 albums in the last 6 months and there´s plenty of stuff there that I´m sure fans will love, while maintaining our exclusive stuff for the clients.

TMN: Do you have particular plans for the future besides this?

AGL: We need to make the most of the momentum and expand Really Slow Motion in a wise way. This is a fast moving industry and we need to get consolidated solidly in. Any new opportunity has to be analyzed and considered because you never know what´s around the corner waiting for you. We haven´t got many placements on video games so let´s see what I can do in that regard.

TMN: Anything else you would like to share with us?

AGL: When I got the news about being the most voted company on “Best Company Of The Year 2013” category award I couldn´t believe my eyes. So… I really want to thank you all, TMN community and fans, for your votes and all the support!! I have no words!!! I really hope we won’t be disappointing you in the future.

TMN: Thank you Agus! Best of luck with your projects!