Ryuichi Sakamoto: Answer The Question With Eternal Questioning

Shen Lvjun / Wen

When the movie "Ryuichi Sakamoto: asynchronous" is shown in the China Film Archive, it is not so much a documentary film as it is a beautiful live record of the concert scene with eight cameras. In this performance, fans and fans met Ryuichi Sakamoto's detached side. Stephen Nox Siki, a Japanese American mixed blood director, has shown the whole process of "asynchronism" from brewing to creation after five years of filming. This is the new documentary "Ryuichi Sakamoto: Finale", which was finally released in China two years later.

"Ryuichi Sakamoto: Finale" did not purposely pursue the composition and aesthetic feeling of the picture. There was no deliberate lighting and no exquisite front and rear scenes. A large number of interviews were directly carried out in the messy work room or piano near Ryuichi Sakamoto, New York.

The focus of the documentary is, of course, on music. Meanwhile, Ryuichi Sakamoto went to the seaside of Fukushima to play the piano after the tsunami, the sound of melting glaciers to the north pole, and the music for the common people in Africa. Of course, more time, he is still in New York's studio, collecting the treatment that he believes can respond to the times and express the eternal voice and experience cancer.

It is hard to make a small documentary film documentaries for musicians to create life in five years. Although the film has a review of Ryuichi Sakamoto's past life experiences (YMO band period, as a master of film music), it is not like the works of Martin Scosese such as George Harrison: living in the material world, rolling thunder Tour: Bob Dylon legend. In this way, the Autobiography of musicians is completed by means of retrospective and example. The finale presents itself in the process of music creation.

However, there are not many rich ways to use music to express music. It is not like the documentary film about directors and films in Jodorowsky's dunes. There are films, scripts, and shapes to support them. Or, like the rickety of the world, Yu Xiuhua's poetry can resonate with the picture. How can a musician find musical notes and create music?

After the director's painful selection and editing, the finale finally made its trade-off. In the early stage of performance, Ryuichi Sakamoto, as the talented player of the two time of picking up Oscar's best soundtrack, was "explosive creation", and the director joined the movie fragments of "happy Christmas on the battlefield", "last emperor", "sheltered sky" and "hunter of wilderness". This is, of course, the right thing to do, but it also allows the movie to influence the independence of music, so that viewers can turn their attention from music to the charm of movie audio-visual language. When Ryuichi Sakamoto came to the late stage, especially after his illness, he found himself in harmony with music when he looked for his own relationship with music and the world. We can see Sakamoto's search for sounds in the woods and in the rain, using baby rattles, glass, porcelain, steel wire, sand hammer, and bowstring to carry out natural works. In other words, we can see that everything is happening.

In fact, compared to the present time line logic, the finale or another logic of narrative itself is the logic of music itself. In the whole movie, if there are different sounds leading to the theme of each small paragraph (for example, different music in asynchronism), so that all the documentary scenes, historical materials and performance pictures that occur in chronological order can be linked, so that the whole finale can achieve a more "voice based" expression.

"Finale" is actually born before the "asynchronous". The two works are equivalent to the two sides of the creation, and the "asynchronous" corresponds to the final form of external presentation, and the finale is more like the inner texture and context of the appearance. Of course, there is also an isomorphism between the two. If "finale" is Ryuichi Sakamoto's process of asking for the world in the past more than 10 years, then "asynchronism" is a concentrated and complete expression of all questions. If you repeatedly listen to several pieces of music (such as Solari and Life Life), when the sound of those instruments that are not artificial is gradually becoming familiar, watching the documentary finale will give people closer feeling.

Unlike the strong atmosphere and emotional power in Ryuichi Sakamoto's works, his latest creation is more like the expression of complex content and abstract concepts as accomplished by pure and pure sound. Just as the YMO band, the founder of world electronics, founded 40 years ago, pioneer is always Ryuichi Sakamoto's true colors. Compared with synchronization, he moves asynchronously. The experience of soundtrack is just his craftsman's hands, and his own creation has always been before the times. Only this time, nearly 70 of him pursued a more rigorous pioneer -- as an artist, to make his work close to infinity.

After Ryuichi Sakamoto's cancer, every creation is the last chapter. In order to return more life, he seeks energy from the natural and endless voice. In the "finale", Sakamoto, who heard the tone change after the tsunami, said: "after the industrial revolution, we distort all forms of nature according to our wishes. The wood needs the pressure of machines in the months and months to form a piano. And every once in a while, we will say that when the piano is loose, the sound needs to be tuned. But in fact, nature is struggling to return to its past form. The tone of the run is the sound of nature's healing power.

Therefore, whether it is the sound of fishing for hundreds of millions of years of melting ice in the north pole, or the composition of the water and grass in the sky of the movie, he is looking for the right voice, the voice that still exists after the music of mankind is dying out. That is eternal, and the search for eternity is the answer to the end by never ending.

After all, what is closer to the final period than the eternal question?