Ryuichi Sakamoto cuts a solitary figure, striding silently along a desolate irradiated beach in Japan’s Fukushima Prefecture, not far from the nuclear power facility that was damaged during the 2011 tsunami. Along with a group of environmental activists, clad in hazmat suits and masks, Sakamoto searches through abandoned buildings and remote beaches, in search of found objects that may provide interesting sounds that can be recorded.
He’s a collector, of recorded sounds from nature and technology. Earlier in his career, he was fascinated by degraded technology, happy accidents that can create strange and wonderful soundscapes. These days, he’s more concerned with the organic sounds of nature; technology still features though, as exemplified in his wonder at the discovery of an intact grand piano in an abandoned building that was consumed by the tsunami floods. He joyfully tinkers with a dead piano key that emanates a muffled chime and nods agreeably.
Starting his solo career in the late seventies, while at the same time collaborating in the electronic three-piece Yellow Magic Orchestra, Sakamoto also established his tastes for working across a variety of media when he composed the music for (and starred in) Nagisa Oshima’s Merry Christmas Mr. Lawrence alongside David Bowie. He would also go on to compose the scores for many films, such as Bertolucci’s The Last Emperor and The Sheltering Sky, Brian De Palma’s Snake Eyes and Femme Fatale and Alejandro González Iñárritu’s The Revenant. Constantly working, Sakamoto has also written for various anime and games.
All this was brought to a grinding halt in 2014 when Sakamoto was diagnosed with throat cancer. Now in remission, we follow him on his daily routine, as he muses about his mortality and his shock at not knowing quite what to do with himself during this extended hiatus.
In conversation, Sakamoto is quietly spoken and reflective though he’s prone to bouts of enthusiastic wonder such as one sequence where he records a frozen Antarctic stream, revelling in the fact that these waters are ‘pre-industrial’ and untouched by modern machines; moments later he stands beneath a huge Antarctic boulder and clangs two hand-held bells together – they chime like tuning forks, shrill and reverberating. As if claiming an unseen victory in the bells tolling amidst the silence of the frozen surrounds, he pumps his fists in the air and bounces on his toes.
Ryuichi Sakamoto’s infectious curiosity about nature and the music of life, make for an engaging and moving subject. Highly recommended.
Following its screening at the Brisbane International Film Festival, the film will release in cinemas, which you can find here: http://higlossentertainment.com.au/ryuichi-sakamoto-coda.html