The silver hair half-concealed the professor's somewhat frosted side face, reflecting the piano's moonlight-like calmness and modesty, and the eternal curiosity about everything in the world.
No matter when and where, what year and month, he always smacked his mouth with a shy smile, the tone was understated, and everywhere he showed a childlike appearance, really like an ageless child; always hanging on his mouth "I want to try something new" and "I have long wanted to try this", as if witnessing Einstein's words: Creativity is intelligence having fun.
It seems that "Ryuichi Sakamoto: The Final Chapter" presents the various accidents and inevitabilities that Ryuichi Sakamoto experienced in his life, internalizing the inspiration of the times and the influence of the environment into a creative universe, responding to life with music, and interpreting the world with emotions.
In the face of music, he always has two ways, he can choose to stay in the existing form of comfort zone, write some safe and small differences in works; or selectively ignore the mainstream market preferences, only care about whether to make music that satisfies himself, focusing on the strong experimental color of each time, and the strong rebound and breakthrough of each time.
He said that he always chose the difficult path at critical moments, whether it was marriage or creation.
For example, anyone who has read his autobiography "Music Makes People Free" can feel to a greater or lesser extent, and the image of Japanese Captain Senoi in Nagisa Oshima's 1983 "Prisoner" is like a copy of the professor's youth: awkward and depressing, cold and hot on the inside, and Ryuichi Sakamoto, who was once a teenager and proud of himself, exudes a kind of spirit that belongs to the newborn calf.
At that time, he had not yet tried his hand at an actor and any film score, and when he received a call from nagisa Oshima, a director he had admired for a long time, to invite him to perform, he suppressed his excitement and boldly replied, "Unless the soundtrack let me do it."
Unexpectedly, the other party agreed, and the pressure returned to Ryuichi Sakamoto, and he rushed to the producer Jeremy at a loss. Thomas asked for help and got a highly valuable answer: Orson. In Wells's The Great Nation, he understood the essential relationship between music and images—where the soundtrack appears when the tension of the image is insufficient.
Therefore, when the first note of "Merry Christmas, Mr. Lawrence" of "Ryuichi Sakamoto: The Final Chapter" falls, the time of nearly forty years has suddenly withdrawn, making people moved for no reason, truly embodying the "eternal immortality" that Ryuichi Sakamoto has pursued all his life, which is also the abuse of everything.
I may have always longed for the sound that lasts and does not disappear and does not weaken, which can be said to be the opposite of the piano, because it will not disappear, like the feeling of eternity.
The critic Takaaki Yoshimoto once made a note, saying that Sakamoto Ryu is a musical thinker, that is, to think, perceive, and absorb things in other fields through music. Music is a window into the world, and then uses music to reflect the ideas of an era that did not belong to music, such as Dadaism during World War I, Surrealism after World War I, or postmodern ideas widely used in various fields.
Ryuichi Sakamoto: The Final Chapter really documents this process of evolution.
In Japan, he participated in anti-nuclear demonstrations and went deep into the tsunami-stricken areas; in the United States, his creations began to reflect the anti-war consciousness of the Gulf Of Waves, civil war and famine, and post-9/11; he also expanded and developed the possibilities of environmental music, constantly launched forest reconstruction conservation programs, launched tours of the Arctic Circle, and presented his respect for nature with music. For the truly eternal and indestructible sound is the natural, true voice.
The environment makes the small individual and the vast world have countless intersections.
Ryuichi Sakamoto stands quietly in the center of the picture, as if his body and mind are serene and self-absorbed in the natural sound of passing through the greenery of the mountains and forests, changeable and pure; listening to all the sounds of leaves through the forest and chasing the raindrops with a bucket on his head, fleeting but all-pervasive; crouching in a corner of snowy Greenland, laughing and laughing that he is "fishing for sounds", on the other hand, he is shocked by the magic of nature and the insignificance of human beings.
The more profound the influence brought to him by the outside world, the stronger his creative motivation, the more distinct the creative direction.
Once he looks back on his life, the most frequent answer he answers is that I don't know why, and I don't know how to have such a result, most of the time he is pushed forward by his own impulses, emotions or intuitions, and he is forced to block it, so he challenges the limits of what he can achieve as a mortal.
This is perhaps why director Bertolucci stimulated the elder Nagyano Morikny to compose a temporary soundtrack for three days, rewrite the prelude to "The Sheltering Sky" in thirty minutes, and complete the complete repertoire of "The Last Emperor" in both Chinese and European, World War II and modern styles in two weeks.
For the great deeds that have been made by hand, it is always a light breeze, a smiling and silent attitude, and the years have worn out sharpness, prejudices and edges, condensed into still water.
He understood that his status as a musician was deeply benefited by his family background and the environment in which he grew up, and he was glad that his clever head was able to survive in his studies, but Ryuichi Sakamoto finally realized that it would not be easier for a person to survive in this world.
Those bright eyes have seen thousands of mountains and rivers, the backs of the body have been involved in countless social movements, and the pair of soul-filled hands are still trying to outline the outline of life on the black and white keys.
Since the news of cancer in 2014, while Ryuichi Sakamoto is close to death, the doubts that have not yet found a clear answer have become clearer, through music, he thinks about love, thinks about human nature, thinks about disappearance, thinks about eternity, and thinks about why we were born in this era? Why was he born in a place called Japan? Why is your life like this? What kind of concert continues to flutter after a hundred years?
"Because we don't know when life will come to an end, we always think that life is a well that never dries up. But a lot of things don't happen too many times, you can remember even less, how many childhood afternoons do you remember? How many more times will you see a full moon? Maybe twenty times, but there seems to be no end in sight." —"The Obscured Sky", Paul. Powers
Regardless of whether the work will sell well, only whether it is interesting or liked, now, the work that satisfies him must retain the original appearance of the world in the eyes of the creator.
There is truth first, then there is goodness and beauty, and the most important thing is to face everything that overrides the limitations of life with your true self. Just like the gradually blurred end of this movie, every day moving your fingers, playing the piano, habitually turning around and walking down the stairs, looking up at the night with a slightly different bright moon, after all, the end of the movement is not necessarily the end, life is the same.
Thank you for watching, paying attention to me, and learning more about it.