![]() ![]() “He has this extraordinary sensibility for sound and music,” says Sakamoto. The director wanted the score to have a profusion of electronic and acoustic layers to create a minimal yet emotional tone. Known for working quickly, and with specific ideas, Inarritu had already compiled an extensive list of temp music, including some of Sakamoto’s songs. “But instinctually, I knew that it may only happen once in my lifetime, so I decided to go.” “I was still recovering so I wasn’t sure whether I should accept or not,” says Sakamoto. ![]() The two had worked together on Inarritu’s Babel in 2006, and the Mexican director wanted Sakamoto to come to Los Angeles to talk about an upcoming project, The Revenant. Seminal Japanese composer Ryuichi Sakamoto was taking a year-long break to recuperate from throat cancer - listening to French composer and pianist Gabriel Fauré, something he credits with “leading him back to the world” - when he received a call from Alejandro Gonzalez Inarritu. ![]()
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