RYUICHI SAKAMOTO
The final scene of Babel directed by Alejandro González Iñárritu is arguably one of the most emotionally explosive movie scenes of the decade. Great acting is obviously a big part of it, but what touches most of the hearts is the beautifully powerful soundtrack, composed by Ryuichi Sakamoto. Best known for movie scores to Merry Christmas Mr. Lawrence, The Last Emperor, The Sheltering Sky, Femme Fatale and dozens of others, Sakamoto is a composer, musician, producer, actor, and also an environmental activist. An Academy Award, two Golden Globes, a Grammy, and the UN Environment Programme’s Echo Award for his groundbreaking work in eco-friendly touring and music distribution are only a few awards he has received throughout his music career. Sakamoto’s pioneering work in electronic music as a part of Yellow Magic Orchestra is a huge influence in techno and ambient worlds. And his colaborations with Alva Noto were so ground-breaking that they became classic releases as soon as albums hit the stores!
I could go on for days about Sakamoto’s musical achievements, innovations and awards, but what really matters – and what no words can make you feel – is an incredible emotional expression that is present in every piece of Sakamoto’s music. Ryuichi is currently touring in Europe with his unique two-pianos live show, but he took out the time to answer a few of our questions.
interview by Katya Guseva
How different is your creative process when writing for films as compared to straight music composing? What do you find more challenging and what is more rewarding?
There are some challenges and rewards in both types of music creations. When I write music for films, it is easier to get started, because there is a deadline, there is a theme and there is a direction given by producers and directors. But sometimes those producers and directors demand and insist on having me to write a kind of music that I don’t believe is a right fit for a scene, so I have to fight for it. Films get to be seen so widely in the world by viewers in theaters and TV. That’s a wonderful reward.
Writing music for myself is truly challenging. I have to play a double role being a producer and a director for a film and being a composer who works for them. Meantime, those struggles trigger me to go deeper about my own creation. That is rewarding.
You’ve shared your thoughts on going back to tribal attitude towards music – sharing music, music belongs to everybody – that seems to be inevitable these days. How do you think it will affect a musician and music industry as a whole?
It definitely should affect the whole industry. However, considering the system we have today has lasted only for one hundred and some years, it is not designed to last forever. History changes. And we must admit that. At the same time, we can also look at a different side of our history. Human beings have lived with music for thousands of years. I believe that would not change in the future.
Is there a common feeling or sentiment in all the music that you write, if you had to put it in words?
I can’t translate those feelings in literal language. I believe that my music speaks for me.
