When Nagisa Oshima asked him to act in Merry Christmas, Mr. Schible uses 1979 footage of Sakamoto from his synth-based heyday with the influential Yellow Magic Orchestra as a stepping stone to an overview of his film career. Sakamoto is consumed by the melancholy of Bach’s music. Instead we see his fascination with the great Russian filmmaker Tarkovsky’s use of Bach chorales. There are no talking heads, no mention of Sakamoto’s personal life, marriages, children and the like. He imagines that his new album will be like composing for an Andrei Tarkovsky film that doesn’t exist.Ĭoda is that rare document that captures a composer’s creative process. We see him assiduously creating soundscapes on his computer (while sitting on an exercise ball), using natural forest sounds, for example, or delighting in the imposing result of a violin bow stroked over a cymbal that becomes fodder for The Revenant’s main theme. Iñárritu’s The Revenant and working on his first solo album in eight years, async. Once he’s able, his musical career resumes with the scoring of Alejandro G. We follow his anti-nuclear activism triggered by Fukushima and then enter with him into his one-year sabbatical from music while he fights throat cancer. The film, shot over a five-year period, begins with footage of Sakamoto playing a piano that survived the 2011 tsunami. But as Ryuichi Sakamoto: Coda, Stephen Nomura Schible’s meticulous documentary on the now 66-year-old composer-performer indicates, Sakamoto’s own music is likely to outlast him. “One that won’t dissipate over time.“ He’s seated at the piano listening to the sound he’s just made melt into thin air. “I’m fascinated by the notion of a perpetual sound,” Ryuichi Sakamoto says. Music and the Movies - Ryuichi Sakamoto: Coda
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