Introducing Really Slow Motion: Interview with Agus Gonzalez-Lancharro

Author: Clothilde Lebrun

Really Slow Motion 是另一家新的预告片音乐公司，由作曲家和声音设计师 Agus Gonzalez-Lancharro 创立。他们的第一张专辑 Cosmogeny 即将发行，其中将收录一些当今最有前途的作曲家创作的音乐……包括 Ivan Torrent！

Trailer Music News：您何时以及为何创办自己的预告片音乐公司 Really Slow Motion？

Agus Gonzalez-Lancharro： 最初，Really Slow Motion 于 2011 年底开始提供我作为作曲家和声音设计师的服务。大多数作为自由艺术家独立工作的人会使用自己的名字，我有时会根据项目使用，但出于某种原因，我认为提供可靠公司的形象会给人更专业的印象，所以我会使用 Really慢动作作为一种改变自我，化名。

2012 年年中，我开始为其他预告片音乐公司工作，我开始认为我可以尝试自己管理类似的东西，所以我决定与一些作曲家讨论团队合作的可能性并发布我们自己的作品材料，我会与音乐总监和媒体专业人士一起进行所有营销和推广。我有多年在出版公司管理团队和执行商业任务的经验，我知道有了好的材料和有才华的作曲家，我们可以在这个疯狂的行业中赢得一席之地。由于所有安定下来且组织严密的公司，这并不容易，但我确信我们拥有实现这一目标的所有工具。

TMN：“Really Slow Motion”是一家专注于电影音乐的公司的矛盾名称。为什么会有这样的选择？

AGL：我一直喜欢名字中的矛盾和不连贯！但在这种情况下对我来说很有意义。真正的慢动作镜头是如此美丽，您可以以非常电影化的方式观察每一个细节，而您通常不会在常规运动中发现这些细节。当我还是个孩子的时候，每次我看到一个非常慢的动作捕捉时，我都会一遍又一遍地看着它，在观看的时候脑海里会响起某种音乐。曾经说过，Really Slow Motion 融合了电影和音乐，而这正是我们所做的。

TMN：这家新公司的特殊性是什么？

AGL： 我们准备许可音乐，我们也能够根据要求定制定制工作。我们的音乐目录的概念是创建也适用于非预告片项目的结构化预告片音乐。通常，根据我的观察，其他公司的做法正好相反。他们创作的曲目恰好适合预告片音乐。也许在我们的第一个版本中这个概念并不那么明显，我们稍后会谈到，但 Really Slow Motion 的方法肯定是“适用于一切的预告片音乐”。

TMN：谁是团队的一员？后者是如何形成的？

AGL： 我很荣幸许多有才华和知名的作曲家从第一天起就真正相信这个项目。如果没有我的朋友 Ivan Torrent 和 Vivien Chebbah 的支持和长时间交谈，这不可能发生，最好的建议可能没有怀疑。我欠他们很多时间！此版本中还有许多其他才华横溢的作曲家，如 Dirk Ehlert、Blake Robinson、Attila Áts、Valentin Boomes、Tomás Lobos Kunstmann、Mateo Pascual、Cesc Vilà、Fran Soto，我和其他也合作过并将在下一版本中出现的人，包括预告片音乐行业的知名人士。为这个版本选择正确的曲目非常困难，而且其中一些曲调确实令人惊叹，但由于技术问题不得不退出。艰难的决定……

真正慢动作的好处是没有自大狂，我们都以非常合作和友好的方式互动，每个作曲家都有自己的聚光灯时间。我很高兴能推广那些花宝贵时间帮助我完成这项疯狂业务的人们的工作。每次我需要与作曲家讨论/制作曲目时，我都觉得自己是在和朋友打交道，而这个事实无疑让事情变得更顺利。我真的不能抱怨，到目前为止和这些人在一起很开心。

TMN：Really Slow Motion 的第一张专辑Cosmogeny很快就会发行。它的名字字面意思是“任何关于宇宙或宇宙的存在或起源的科学理论，或所谓的有情众生的‘现实’”。这张专辑背后的故事是什么？我们可以期待什么类型的音乐？

AGL：  Cosmogeny是一切的开始，作为第一个版本，我们必须展示我们能够做的一系列事情。正如我之前所说，我们本可以采用更特别的风格和流派，但归根结底，我们只是这个街区的新手，还没有音乐主管知道我们，所以……让我们向他们展示我们的一些技巧！很快我们将发布另外两个版本，其中我们将获得更多特定流派，但现在我们必须以出色的曲目引起注意，以表明我们可以提供可靠的质量产品。

官方宣传视频，收录了 Cosmogeny 的几首曲目，由 Rain Ventsel 编辑：

TMN：Really Slow Motion 还专门从事声音设计。近期会出专辑吗？

AGL： 是的，我已经在努力了，这方面的初步行动已于上周开始。很快就会有更多消息！

TMN：音乐是现场录制的，还是使用样本？

AGL： 有些曲目有现场乐器，但大部分是由虚拟乐器演奏的。如您所知，管弦乐队、合唱团和录音室非常昂贵，目前我们刚开始时预算紧张，但这不是我们声音不好的借口。作为作曲家参与第一版的最重要的一点是，制作技巧必须是首屈一指的，以弥补真正管弦乐队的不足。我联系了我认识的最好的模型制作者/制作人，并在简报中直截了当地告诉他们：“如果你认为音轨的某个特定部分听起来不够真实，那就写点别的吧！”。我们必须聪明并充分利用我们的资源，避免可能危及整体质量的东西。老实说，我认为我们在每一首曲目中都取得了出色的声音。

TMN：你对未来有什么特别的计划吗？

AGL： 确实如此！2013年肯定会有更多的发布。几天后，我将飞往洛杉矶与音乐总监和其他专业人士会面，介绍我们的项目。之后，我们的音乐将被发送给子发行商以获得电视和其他植入。这只是一个开始，我对整件事感到非常兴奋。

TMN：你还有什么想和我们分享的吗？

AGL： 我真的需要感谢所有在这个项目中帮助我的人，每一位以某种方式参与该项目的作曲家（去看看他们的东西！），视频编辑器/忍者 Rain Ventsel 的耐心和技能，Ryo Ishido 出色的艺术作品以及 Dos Brains 和 Gothic Storm 等音乐公司的意外支持，这些家伙摇滚！当然，宣传预告片音乐新闻！！！如果您还不了解我们，请访问我们的网站www.reallyslowmotion.com ，您还可以在Facebook、  Twitter、Youtube和SoundCloud上关注我们。

TMN：谢谢你，阿古斯！

Really Slow Motion is another new trailer music company, founded by composer and sound designer Agus Gonzalez-Lancharro. Their first album, Cosmogeny, is due out very soon, and will feature music written by some of today’s most promising composers… including Ivan Torrent!

Trailer Music News: When and why did you start you own trailer music company, Really Slow Motion?

Agus Gonzalez-Lancharro: Initially, Really Slow Motion started in late 2011 to offer my services as both composer and sound designer. Most people working on their own as freelance artists would use their own name, and I sometimes do depending on the project, but for some reason I thought that offering an image of a solid company would give a more professional impression, so I would use Really Slow Motion as a sort of alter ego, a pseudonym.

In mid 2012, I started to work for other trailer music companies and I started to think that I could have a shot managing something similar myself, so I decided to talk to some fellow composers about the possibility of working as a team and release our own material and I would do all the marketing and promotion with the music supervisors and media professionals. I have years of experience managing teams and doing commercial tasks in a publishing company and I knew that with good material and talented composers we could gain ourselves a spot in this wild business. It won’t be easy due to all the well settled and greatly organized companies out there but I’m certain that we have all the tools to make it happen.

TMN: « Really Slow Motion » is a paradoxical name for a company that focuses on cinematic music. Why such a choice?

AGL: Ive always liked paradox and incoherence in names! But in this case made lots of sense to me. Really slow motion footage is so beautiful, you can observe every single detail in a very cinematic way that you wouldn’t normally spot in regular motion. When I was a kid, every time I watched a really slow motion capture I would be fascinated watching it over and over again having some sort of music ringing on my mind while watching. Once said that, Really Slow Motion merges both motion picture and music, and that’s exactly what we do.

TMN: What is the particularity of this new company?

AGL: We prepare license music and we are also capable of tailoring custom jobs under request. The concept of our music catalog is the creation of structured trailer music suitable also for non-trailer projects. Usually, for what I have observed, other companies do the other way round. They create great tracks that happen to be suitable for trailer music. Maybe in our first release this concept is not so obvious, we will talk about that later on, but Really Slow Motion’s approach will definitely be “trailer music suitable for everything else”.

TMN: Who is part of the team? How was the latter one formed?

AGL: I am so honored that many talented and well known composers truly believe in this project since day 1. No way this could have ever happened without the support and long talks with my friends Ivan Torrent and Vivien Chebbah, the best advise possibly without a doubt. I owe them big time! There are many other talented composers in this release like Dirk Ehlert, Blake Robinson, Attila Áts, Valentin Boomes, Tomás Lobos Kunstmann, Mateo Pascual, Cesc Vilà, Fran Soto, myself and others that have collaborated too and will be in next releases, including very big names in the trailer music industry. It’s been so difficult and hard to pick up the right tracks for this release and some of this tunes were truly amazing but had to be out because of technical problems. Tough decisions…

The good thing about Really Slow Motion is that there are no egomaniacs, we all interact in a very cooperative and friendly way and every composer has their own spotlight time. I’m happy to promote the work of people that kindly took their valuable time to help me putting together this crazy business. Everytime I need to discuss/produce a track with a composer I feel like I’m dealing with a friend and that fact definitely makes things smoother. I really can’t complain, so happy with the guys so far.

TMN: Really Slow Motion’s first album, Cosmogeny, will come out very soon. Its name literally means “any scientific theory concerning the coming into existence -or origin- of either the cosmos -or universe-, or the so-called “reality” of sentient beings”. What’s the story behind this album? What genre(s) of music can we expect?

AGL: Cosmogeny is the beginning of it all and as a first release we had to showcase a range of things that we are capable of doing. As I said earlier on, we could have gone more particular style and genre wise but at the end of the day we are just the new kid on the block, no music supervisor is yet aware of us, so… Let’s show them some of our tricks! Very soon we will have two more releases in which we will get more genre specific, but for now we have to get noticed with great tracks, to show that we can deliver a reliable product of quality.

Official promo video, featuring several tracks from Cosmogeny, and edited by Rain Ventsel:

TMN: Really Slow Motion also specializes in sound design. Will you release an album soon?

AGL: Yes, I am already working on it and the first moves in that regard have started last week. More news soon!

TMN: Is the music recorded live, or do you use samples?

AGL: Some of the tracks have live instruments but are mostly performed by virtual instruments. As you know, orchestras, choirs and recording studios are very expensive and at the moment we are just starting out with a tight budget, but this is no excuse for us to not sound great. The biggest deal about being part of this first release as a composer is that the production skills had to be second to none to compensate the lack of real orchestras. I contacted the best mock-up makers/producers I knew and literally told them in the brief: “If you think that a particular part of the track is not going to sound real enough, just write something else!”. We had to be clever and make the most of our resources, and avoid stuff that could jeopardize the overall quality. I honestly think that we have achieved a great sound in every single track. Being able to record with big ensembles is just a matter of time.

TMN: Do you have particular plans for the future?

AGL: Indeed! 2013 will definitely have more releases. In just few days, I will be flying over to Los Angeles to meet the music supervisors and other professionals to introduce our project. After that, our music will be sent to sub-publishers to get TV and other placements. This is just the very beginning and I am very excited about the whole thing.

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

AGL: I really need to thank all the people that is helping me in this venture, every single composer that has been involved somehow in the project (go and check out their stuff!), the video editor/ninja Rain Ventsel for his patience and skills, Ryo Ishido for his outstanding art work and the unexpected support of music companies like Dos Brains and Gothic Storm, those guys rock! And of course, Trailer Music News for spreading the word!!! Please, if you don’t know us just yet, visit us on www.reallyslowmotion.com, and you can follow us on Facebook, Twitter, Youtube and SoundCloud.

TMN: Thank you, Agus!