Composers Sonya Belousova and Giona Ostinelli break down the secrets of the 'One Piece' soundtrack.
The Big Picture With Netflix's exciting new pirate adventure series One Piece hitting the high seas of streaming, it seems only right that the highly-anticipated adaptation of Eiichiro Oda's Manga have a suitably exciting and adventurous soundtrack to accompany it.
BELOUSOVA: Because let's take our Straw Hats, right? The cool thing about this show, in general, is that there's so much diversity within the show, which presented a perfect opportunity for us to make this score incredibly diverse, right? We can go anywhere from epic swashbuckling orchestra to songs featuring artists, for example, such as Aurora. We are releasing “My Sails Are Set” featuring Aurora, and Aurora is just brilliant.
Then we have Nami, which for Nami, we mainly use flute. Nami’s character was great because she gave us so many opportunities to work with, whereas, for example, with "Toss a Coin to Your Witcher" in Witcher, we introduced the theme of the song at the beginning of the episode, and then the song comes in at the very, very end of the episode.
OSTINELLI: And we thought, with Sanji, his fighting style is his kicks, so we're like, what’s more appropriate to represent his fighting style than having a really cool drum group, like jazzy drum group, following his kicks? You mentioned that all of their themes kind of bleed together into Luffy’s theme because he's the captain, he's the leader of this little band. One of the things I thought was really cool when “Wealth Fame Power” came out—the first track off the soundtrack—is that the two of you had mentioned that Luffy’s theme is Gol D. Roger's theme reversed. I love musical references like that, so I wonder if you can go more into the decision to do that.
Now for Luffy, the theme goes up because it's all about the ascending motion. He's just beginning his journey towards this great adventure, towards becoming the king of the pirates, towards eventually, hopefully, finding the One Piece treasure. So, there is that parallel with Roger’s descending motion, but then Luffy’s ascending motion. We are ending one storyline, but we are immediately beginning another storyline.
OSTINELLI: It also gives you a big opportunity to play around. For example, in Episode 8, there is Zoro fighting the Fish-man, and the Fish-men are winning at a certain point the fight with Zoro. We feature more of the sound and the themes of the Fish-men, but still with elements of Zoro’s music or instrumentation in it a little bit because Zoro is fighting them.
I know this is kind of like asking someone to pick their favorite child, but if you have the one musical scene, you are most eager for everybody to experience, is it that back-and-forth scene at Kaya’s, is it something else? BELOUSOVA: They're like, “Do you have a cat in the studio?” We’re like, “No.” But that didn't stop us, and we decided to do something else for Kuro because Kuro’s signature look is all about his claws, right? They’re just a general part of his look, so we're thinking, “How do we incorporate that musically?” So we brought in some knives, like kitchen knives, to the studio, and we decided to record the sound of the knives being sharpened.
OSTINELLI: And to me, also, for example, in Episode 1, when there is the whole courtyard fight towards the end. It’s the first fight where Luffy, Nami, and Zoro fight together against Axe-Hand Morgan. It's so much fun musically because it’s the first time when we play around with their themes and their sonorities.
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