FF7R原声带实体版附带小冊子↓
图1 野村哲也：
音乐是一种让人难以忘记的东西，所以我相信体验过原版《FINAL FANTASY VIl》的玩家在听到FFVIR的安排时，会立即回到他们的第一次体验。事实上，试听版发布后，我注意到的第一件事就是大家对这首歌的评论之快。甚至连从未接触过FFVIl的玩家也会首先提到歌曲。像这样的回应向我证明了音乐可以有多么强大，这些歌曲将会有持久的影响，就像之前的原版一样。在所有这些难忘的歌曲中，还有主题歌《Hollow》，这是克劳德的心灵之窗。正因为如此，我们想要一个有摇滚经验的男歌手，并且歌词要用英语——一种国际语言。
这首歌本身就是为了唤起这样的画面：一个男人独自站在雨中，破碎的大地恢复了生命，他周围的风暴最终散去，展现出一片无边无际的地平线，等待着新的旅程。
图2 植松伸夫：
我认为在为游戏编写歌曲时需要考虑的最重要的事情是，“谁，在什么情况下，在什么精神状态下?”如果你考虑了太多的信息，你就会纠结于这个或那个细节，而你将无法取得任何真正的进展。
当这种情况发生时。我试着把它归结为一个简单的关键短语来概括我想表达的东西。雨中的克劳德，陷入了沉思——这就是我最后选定的形象。
这是一个人试图逃避他根本无法逃避的命运的挣扎——一个人站在自己的外面，向里看，对自己无能为力、孤独绝望，寻找前进的道路，沮丧而绝望。
我选择了c11和弦来捕捉一个无法放松警惕的人的复杂性和不安全感——尽管是Yosh，用他原始而有力的嗓音，为静静站在雨中但在他心中咆哮的克劳德发声。

Fami通杂志 2020／8月号 对野岛一成的访谈

纪念“FINAL FANTASY VII REMAKE”配乐的发布！植松伸夫、野岛一成、北濑佳范关于主题曲《Hollow》的专访内容

2020年4月6日，一位意大利主播GamerDex83在对北濑佳范和滨口直树的独家专访中提到了《Hollow》，以下是关于Hollow 部分的访谈翻译：
GamerDex83：
“自 1997 年以来，我就是 FF7 的忠实粉丝，并且现在我已经是 Remake 的粉丝，在我的油管频道工作中，我尝试分析您发布的每个预告片和图像细节，我也在音乐中这样做，我真的很喜欢配乐动态方面，但问题不是关于这个，而是关于游戏主题曲：Hollow 。 我试着听听我们在预告片音乐曲目中听到的那些词，试图弄清楚这首歌是关于什么的，请问这里是关于扎克斯的吗？”
在这里我看到北濑笑了，但现在我们已经习惯了他的采访，我们经常读到“笑”。滨口笑了起来，做出了一个被逗乐了的人的典型表情。北濑的回答是，他们显然不能谈论什么时候会听到这首歌，但这首歌的感觉肯定是围绕着克劳德的。然后他补充道:“好吧，克劳德和扎克斯非常亲近/关联，所以......”

最终幻想7重制版的主题曲《Hollow》制作幕后花絮影像 —— 植松伸夫的部分感想内容
（注：这视频在b站有，只选取与《Hollow》有关灵感的信息，即三张图）

野岛一成关于《Hollow》歌曲的采访
Profile
Since joining SQUARE ENIX in 1995, Kazushige Nojima has worked on the scenario for a number of games in the FINAL FANTASY series, including VIl,Ⅷ,Ⅹ, and X-2. After leaving the company to go freelance, he has worked on a variety of projects, such as FINALFANTASY ADVENT CHILDREN and MOBIUS FINAL FANTASY,as well as Kingdom Hearts Ⅰ and Ⅱ .He has also penned three novels connected to Square Enix's titles.
During the production of FFVIl, Nojima was as old as the character Cid. Now, however, he is similar in years to Vincent's true age, and has trouble relating to people as young as Yuffie. Currently, he is fumbling about, but still steadily working and building his career. He also has a deep appreciation for heavy metal music and owns an excessive number of electric guitars, none of which he can play very well.
野岛一成简介
自从1995年加入史克威尔艾尼克斯（原史克威尔，2003年与艾尼克斯合并为史克威尔艾尼克斯）以来，野岛一成参与了最终幻想系列的多款游戏的剧本工作，包括最终幻想7、最终幻想8、最终幻想10和最终幻想10-2。离开公司成为自由职业者后，他参与了各种项目，如最终幻想7 圣子降临和莫比乌斯 最终幻想，以及王国之心Ⅰ和Ⅱ。他还写了三本与史克威尔艾尼克斯公司的游戏相关的小说。
在制作最终幻想七期间，野岛和（ff7游戏里的）角色希德一样老。然而，现在他的年龄与文森特的真实年龄相似，很难与像尤菲这样的年轻人相处。目前，他正在摸索，但是一直稳定地工作着，和在建设自己的事业。他还非常欣赏重金属音乐，拥有大量的电吉他，但他没有一把弹得很好。
Q1:This is your second vocal track with Nobuo Uematsu. Has anything changed since you two last worked together?
A:I'm asked for lyrics every few years, and I haven't written anything for the FINAL FANTASY series since FFⅩ, which was what? Twenty years ago? Geez. (Laughs) I don't remember much from our last collaboration, but I was strangely nervous working on "Hollow" since I enjoy blues-based music. It was almost like challenging history.
Q1:这是你与植松伸夫合作的第二首乐曲。你们在上次合作后有什么变化吗?
A:我每隔几年就会被要求写歌词，但自从FF10之后我就没有为最终幻想系列写过任何东西了，那是什么?20年前?天啊。(笑)我不太记得我们上次的合作了，但我在做“Hollow”的时候特别紧张，因为我喜欢蓝调音乐。这几乎像在挑战历史。
Q2:How did you become involved with the lyrics for "Hollow"?
A:It's my understanding that the director, Tetsuya Nomura, asked for me by name.The song is meant to be about the game's world and characters, so I believe he wanted someone who had worked on the scenario.
Q2:你是如何参与到“Hollow”的歌词创作?
A:据我所知，导演野村哲也点名要找我。这首歌是关于游戏世界和角色们，所以我认为他想找一个曾经参与过这一剧本的人。
Q3:Was there anything you found particularly challenging when writing the lyrics for the song?
A:I knew from the get-go that they wanted English lyrics, and that professionals would be handling the translation-this meant I didn't need to worry about matching any of my Japanese lyrics to the melody or rhythm. I thought that would make the process easier...but that wasn't the case. Lyrics are what happens when words collide with music, so without that music to guide me, I'd be just randomly stringing sentences together. I knew that to get anywhere with this song, I had to be able to sing it using my Japanese lyrics. But that's where I ran into issues:the song was written with English in mind, which meant there weren't enough beats to include everything I wanted in Japanese. That was probably the biggest hurdle to overcome.
Originally, there weren't any plans to make what I had written public, so when they decided to add subtitles to the Making Of video, I tweaked my Japanese lyrics to more closely match the English... That's okay, right? (Laughs)
Q3:在写这首歌的歌词时，你有没有发现什么特别有挑战性的地方?
答:我从一开始就知道他们想要英文歌词，而且有专业人士负责翻译——这意味着我不需要烦恼把我的日语歌词和旋律或节奏匹配起来。我以为这样会让过程更容易些……但事实并非如此。歌词是文字与音乐碰撞时产生的，所以如果没有音乐的引导，我就只是随机地把句子串在一起。我知道要想让这首歌有所成就，我必须能够用我的日语歌词来唱它。但这就是我遇到问题的地方:这首歌是用英文写的，这意味着没有足够的节拍来包含所有我想要的日语。这可能是需要克服的最大障碍。
最初，他们没有任何计划公开我写的东西，所以当他们决定给制作视频添加字幕时，我调整了我的日语歌词，使其更接近英文……那没什么的，对吧?(笑)
Q4：What was it like to work with Yosh, the song's vocalist?
A：Yosh is, in a word, cool-he's got the voice and the style to match. He's an amazing performer, too. Watching him sing live blew me away-he has this incredible on stage energy, Guess that's the star quality you need to be a band's front man.
Q4:和这首歌的主唱Yosh合作是什么感觉?
A:总而言之，Yosh很酷——他的声音和风格都很相配。他也是个了不起的表演者。看他的现场演唱让我震惊——他在舞台上有不可思议的活力，我猜这就是当乐队主唱所需要的明星品质。
Q5:It's been over twenty years since you worked on the original FINAL FANTASY Ⅶ.Has anything about your creative process changed?
A:While I personally haven't changed that much, I do believe the world has come to view stories in video games in a different light. Game scenarios used to be collections of still images accompanied by flavor text or a few impactful lines. While I think that's still an option for games-and a very popular one-l've come to realize over the past few years that's not how I want to create. You can't have memorable characters or a lasting IP without a compelling story. That's where I want to focus my creative energy.
Q5:距离你参与最初的最终幻想7已经过去20多年了，你的创作过程有什么变化吗?
A:虽然我个人感觉并没有太大的改变，但我相信世界已经开始以不同的眼光看待电子游戏中的故事。游戏场景通常是静态图像的集合，并伴随着有风格的文本或一些有影响力的台词。虽然我认为这仍然是游戏的一个选择，而且是一个非常受欢迎的选择，但在过去的几年里，我意识到这不是我想要的创作方式。如果没有引人入胜的故事，你就不可能拥有令人难忘的角色们或持久的IP。这就是我想要集中创造力的地方。
Q6:Has music ever inspired your stories?
A:Many, many years ago-and I do mean "many"-a game's music would be ready by the time the scenario was roughly 70% complete. Usually, there'd be a grace period that'd allow scenario writers to edit bits of the story based on the songs,but nowadays that hardly ever happens. l'm not saying "I miss the good ol' days" or anything, but if I had to compare, I do prefer the old-fashioned approach. But in a broader sense, I think I am inspired by the music I listen to while I work. For example,heavy metal, and more recently, punk rock, which I used to hate. It only took me forty years to come around to the genre... In any event, I think music does affect my work.
Q6:音乐曾经给过你创作故事的灵感吗?
A:很多很多年前——我的意思是“很多”——当剧本完成70%时，游戏的音乐就准备好了。通常情况下，会有一个宽限期，允许编剧根据歌曲编辑故事的片段，但如今这种情况几乎不存在了。我不是说“我怀念过去的美好时光”之类的，但如果要比较的话，我确实更喜欢老式的方法。但从更广泛的意义上讲，我认为我的灵感来自于我在工作时听的音乐。比如重金属，还有最近的朋克摇滚，我以前很讨厌这种。我只花了40年的时间就接受了这种类型的音乐……无论如何，我认为音乐确实影响了我的工作。
Q7:What sort of project would you like to collaborate with Uematsu on? Any fields outside of video games you'd like to try your hand at?
A:l have lots of ideas, actually Hopefully in time, he and I can make them happen..
Q7:你想和植松在什么样的项目上合作?除了电子游戏，你还想尝试其他领域吗?
A:其实我有很多想法，希望他和我能及时实现它们。
Q8:Finally, is there anything you would like to say to the audience?
A:First of all, thank you for coming today. Though the staff members may changewith each iteration, the FF series is still thriving -it's kind of like we're a long-standing idol group, with rotating members. FINAL FANTASY wouldn't be where it is today without your continued support, and I hope that through this concert you can see just how far we've come.
Q8:最后，你有什么想对观众说的吗?
A:首先，感谢您今天的光临。虽然工作人员可能会随着每一次迭代而变化，但FF系列仍然在蓬勃发展——有点像我们是一个长期存在的偶像团体，有轮换的成员。如果没有你们的支持，最终幻想就不会有今天，我希望通过这场音乐会，你们能看到我们已经走了多远。

更新完结了

Hollow的演唱者Yosh发过带蒂法配图的宣传Hollow的ins。我觉得也能侧面说明Hollow所要表达的内涵。虽然不好说蒂法就是这首歌的专属对象，但应当也能说明克劳德对蒂法的感受是体现在Hollow里的。“失去”是Hollow所要表达的主要感情，无论是扎克斯的遭遇还是蒂法的遭遇，对克劳德来说都是很沉重的“失去”。