Top 100 Ryuichi Sakamoto Quotes of 2021

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Ryuichi Sakamoto is a Japanese musician, composer, record producer, singer, writer, actor and director. (wiki) Sakamoto became one of the most prominent musical figures in Japan and created a variety of musical styles ranging from ambient techno to electropop to film scores. He was also the founder of the musical duo Yellow Magic Orchestra.

As a composer, musician, and actor, Sakamoto has been the subject of as much critical praise as he has been the object of popular acclaim. As a child, Sakamoto was forced to take piano lessons against his will; his piano teacher encouraged him to pursue composition, and soon, Sakamoto was writing classical piano pieces. By the early 70’s, Sakamoto was writing film scores for a number of Japanese arthouse directors, including Nagisa Ôshima. This marked the beginning of a long-standing collaboration between the two. In the 80’s, Sakamoto collaborated with David Sylvian of the group Japan. He also formed the group YMO with Haruomi Hosono and Yukihiro Takahashi.

Best Ryuichi Sakamoto Quotations List

“I’m just delighted to be living, to be able to have a simple conversation, to feel a ray of sunlight on my skin and listen to the breeze move through the leaves of a tree.”― Ryuichi Sakamoto

“Hopefully, we will become a stronger democratic society and avoid falling into xenophobia. Hopefully, we build good relationships with our neighboring countries and, rather than acting for profit for the current generation, acting in a way that will ensure we leave natural resources for future generations.”― Ryuichi Sakamoto

Ryuichi Sakamoto
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“In Japanese culture, there is a belief that God is everywhere – in mountains, trees, rocks, even in our sympathy for robots or Hello Kitty toys.”― Ryuichi Sakamoto

“Music is like nuclear plants. In a way, it’s true! Music is totally artificial. Still using some material from nature, a piano is assembled with wood and iron. Nuclear power uses material from nature, but it’s been manipulated by humans, and it produces something unnatural.”― Ryuichi Sakamoto

“I was working with the computer at university and playing jazz in the daytime, buying west-coast psychedelic and early Kraftwerk records in the afternoon, and playing folk at night. I was quite busy!”― Ryuichi Sakamoto

“I want to be lazier. This is the luxurious dream I have: Doing nothing all day, just watching the clouds and DVDs.”― Ryuichi Sakamoto

“I have a cultural map in my head, where I find similarities between different cultures. For example, domestic Japanese pop music sounds like Arabic music to me – the vocal intonations and vibrato – and, in my mind, Bali is next to New York. Maybe everyone has these geographies in their head. This is the way I’ve been working.”― Ryuichi Sakamoto

“A young musician needs a powerful laptop and a good analogue synthesiser.”― Ryuichi Sakamoto

“I’m not the ambassador of Japan or Japanese culture.”― Ryuichi Sakamoto

“The world is full of sounds. We just don’t usually hear them as music.”― Ryuichi Sakamoto

“My main interest in synthesizers when I was an older teenager was to escape from the spell of the 12-tone system or, in a more broad sense, the spell of the European modern-music system. That led me to explore towards electronic music and ethnic music.”― Ryuichi Sakamoto

“Our body is part of nature. Our creations, they’re not natural. We build things that aren’t natural, but our bodies, they’re part of that system.”― Ryuichi Sakamoto

“You’re changing every day, right? Your curiosities and ambitions change, your ear changes, the music you like changes – and the music you want to make, too.”― Ryuichi Sakamoto

“I am worried that young Japanese people are not very curious about the outside world – which is so different to the way we were in the Sixties and Seventies. All they want to listen to is Japanese pop. They haven’t even heard of Radiohead!”― Ryuichi Sakamoto

“I was born and grew up in Tokyo, so I didn’t know about nature.”― Ryuichi Sakamoto

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“An artist’s initial broad stroke is always most impactful, and obsessively adding layer upon layer of paint to fill in details often diminishes the painting’s aura. When an aura is lost, it is impossible to get back.”― Ryuichi Sakamoto

“Since the early 1990s, I had been very worried about the state of the environment, and by the end of that decade, I realized I needed to do something about it.”― Ryuichi Sakamoto

“Art is often defined as a famous masterpiece in a gallery, and we are meant to visit the work and view it to appreciate it. But that is not all there is.”― Ryuichi Sakamoto

“Hollywood is a double feeling. Love and hate. With a talented film director, I cannot resist. They are such charming and intelligent people. But each time, it is very difficult to deal with other people. I have to satisfy other people. The director or the producer. Not me. I have to satisfy myself. But then I have to deliver my music.”― Ryuichi Sakamoto

“It was a very rare moment in Japan after the Fukushima nuclear plant accident. Ordinary people went out to the streets to speak anti-nuclear sentiments.”― Ryuichi Sakamoto

“I’m very shy about seeing my own face on the screen.”― Ryuichi Sakamoto

“I easily fall asleep during a movie.”― Ryuichi Sakamoto

“Conceptually, I am open to mistakes – errors, actually. I do play lots of wrong notes while I am making some music, and a mistake or a wrong note is like a gift for me: ‘Oh, wow, an unknown sound or an unknown harmony. I didn’t know about this.’”― Ryuichi Sakamoto

“Although I don’t understand Russian, I like the sound.”― Ryuichi Sakamoto

“Time is the main subject for any musicians, music writers, composers.”― Ryuichi Sakamoto

“Time in our universe is always one way: no going back, no reverse. In music, you can reverse it!”― Ryuichi Sakamoto

“I was aware of that theme of mortality in my music since around 2009. The decaying and the disappearance of the piano sound is very much symbolic of life and mortality. It’s not sad. I just meditate about it.”― Ryuichi Sakamoto

“Asian music influenced Debussy, who influenced me – it’s all a huge circle.”― Ryuichi Sakamoto

“I have a longing for violin or organ. Is it too simple to say those sustaining sounds symbolise immortality?”― Ryuichi Sakamoto

“We musicians often get inspiration from films and books or photographs, not only by music.”― Ryuichi Sakamoto

“I don’t get so much inspiration from other musicians. Especially alive musicians. Late musicians are good – Bach, Beethoven – yes, good.”― Ryuichi Sakamoto

“Each time I work on a film, I say to myself, ‘This is it. This is the end.’ Because it is so stressful, it’s like torture.”― Ryuichi Sakamoto

“It’s a very intimate, closed universe, doing my own music. It’s just me, basically. I have to inspire myself; I have to do everything by myself.”― Ryuichi Sakamoto

“Ever since I was 18 or 19, I’ve wanted to question the sound, tones, and scale associated with the piano as an instrument symbolic of modern European music.”― Ryuichi Sakamoto

“I’ve realised that if it is to remain relevant, contemporary music needs to change.”― Ryuichi Sakamoto

“Looking back at my early career, I had a positive view of technology and its potential. It was a happy time, that’s for sure.”― Ryuichi Sakamoto

“I wanted to hear sounds of everyday objects – even musical instruments – as things.”― Ryuichi Sakamoto

“I went to see one of those pianos drowned in tsunami water near Fukushima and recorded it. Of course, it was totally out of tune, but I thought it was beautiful. I thought, ‘Nature tuned it.’”― Ryuichi Sakamoto

“I’m trying to relax, but it’s hard.”― Ryuichi Sakamoto

“I have been a long time fan of Jean-Luc Godard. It’s my dream to work with him.”― Ryuichi Sakamoto

“The first music I got really into was Bach.”― Ryuichi Sakamoto

“I always think about music horizontally and vertically at the same time.”― Ryuichi Sakamoto

“For making music for myself, I just need to be happy. I’m the producer, the director, and the listener.”― Ryuichi Sakamoto

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“Without the knowledge of music, it would be very hard to write film music. There are so many films, and each one has a different historical background and everything.”― Ryuichi Sakamoto

“Piano symbolizes interiority.”― Ryuichi Sakamoto

“In the old days, people shared music; they didn’t care who made it. A song would be owned by a village, and anyone could sing it, change the words, whatever. That is how humans treated music until the late 19th century. Now, with the Internet, we are going back to having tribal attitudes towards music.”― Ryuichi Sakamoto

“My concept when making music is that there is no border between music and noise.”― Ryuichi Sakamoto

“Playing in London in 1979 was exciting: it was at the start of new wave, the transition period after punk, and there were a lot of radical, fashionable young people on the streets and in the venues.”― Ryuichi Sakamoto

“For me, change doesn’t happen on a linear basis; it zig-zags back and forth.”― Ryuichi Sakamoto

“When I imagine some music in my mind, almost automatically, I imagine the piano keys.”― Ryuichi Sakamoto

“I’m a terrible drummer; I almost cannot play the guitar nor sax nor trumpet.”― Ryuichi Sakamoto

“The piano is the instrument I can play the most.”― Ryuichi Sakamoto

“I honestly like any sound. Birds. I have a very broad space to accept or enjoy anything except quiet.”― Ryuichi Sakamoto

“I know Brazilian music. I have worked with Brazilians many times.”― Ryuichi Sakamoto

“Playing jazz in restaurants is too stereotypical.”― Ryuichi Sakamoto

“Japan used to be an animistic society before Shinto imperialism was established. But most of us still have an animistic sense.”― Ryuichi Sakamoto

“Japanese people can feel some attachment in what they are making, whether it is a car or a TV or a computer.”― Ryuichi Sakamoto

“I used to know things intellectually, but now I feel them. Now I feel that my body is part of nature, so being sick is just a process of nature, and death is a process of nature, and being reborn through the soil is a process of nature.”― Ryuichi Sakamoto

“I’m fascinated by the notion of a perpetual sound: a sound that won’t dissipate over time. Essentially, the opposite of a piano, because the notes never fade. I suppose, in literary terms, it would be like a metaphor for eternity.”― Ryuichi Sakamoto

“To record the perfect album. That is my dearest wish.”― Ryuichi Sakamoto

“I hope to record the perfect album, my masterpiece, before I die.”― Ryuichi Sakamoto

“As soon as I choose the timbre of an instrument, that dominates how I compose.”― Ryuichi Sakamoto

“I think there’s a genuine difference between the real and the virtual in music.”― Ryuichi Sakamoto

“I had never really liked the music by Gabriel Faure, but just by chance, listening to some pieces by him, I got very interested. So I listened to almost everything. All the pieces written by him. I was digging deeper and deeper. I’m not sure I still like his music or not, but it’s interesting.”― Ryuichi Sakamoto

“I want to capture the mood I have now, post-cancer, in my music.”― Ryuichi Sakamoto

“I have a lot of sketches and ideas, but when you don’t use them, they get stale.”― Ryuichi Sakamoto

“When I lived in Japan, I only noticed the bad aspects of the country. I didn’t really like Japan then, but when I moved overseas, I was able to appreciate the good side more.”― Ryuichi Sakamoto

“My interests are moving toward both ‘sound and music,’ not just ‘music.’ I have been doing lots of field recordings and also collecting lots of strange sounds.”― Ryuichi Sakamoto

“People don’t buy CDs so much anymore because it’s easy to download everything. So, while the record industry is declining, the music is heard a lot more than before.”― Ryuichi Sakamoto

“Music has become something different from the past, when it was one hundred per cent live. Throughout the twentieth century, it was recorded, and the medium adjusted.”― Ryuichi Sakamoto

“For me, Debussy is the door to all 20th-century music.”― Ryuichi Sakamoto

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“I loved the freedom of improvised music.”― Ryuichi Sakamoto

“I love to be anonymous.”― Ryuichi Sakamoto

“The piano is the closest instrument to me in my life, so it’s just natural to play my pieces on the piano.”― Ryuichi Sakamoto

“All the kids at the kindergarten had to play, or at least touch, the piano. It was a good start. Then, after kindergarten, all my friends took piano lessons, so I joined them.”― Ryuichi Sakamoto

“To show my everyday life to the world was not my intention.”― Ryuichi Sakamoto

“Just recently, I thought about how maybe I should have kept using the synthesisers more after ‘Merry Christmas, Mr Lawrence’; then, I would have been a more unique soundtrack composer than I am now. It could have been my signature. But then, probably, Bertolucci would not have offered me to compose for his films.”― Ryuichi Sakamoto

“When we went to see the first rough cuts of ‘Merry Christmas, Mr Lawrence,’ I fell to the floor because my acting was so bad. I wrote music to compensate for my bad acting.”― Ryuichi Sakamoto

“You can use existing music in a film, but creating a soundtrack is very different. One note can be enough.”― Ryuichi Sakamoto

“I’m really bad writing the chase scenes or fighting scenes. I’m much better for writing, like, a more melancholic or tragic music.”― Ryuichi Sakamoto

“I used to work, like, for 16 hours a day, or sometimes 24 hours.”― Ryuichi Sakamoto

“That’s the meaning of ‘The Revenant’: It’s a return from death.”― Ryuichi Sakamoto

“I’m concerned by a deficient technology. In other words, errors or noises. It absorbs me, and I wonder if new cultural currents could emerge from this deficiency.”― Ryuichi Sakamoto

“I’ve worked with the same Prophet 5 Synthesizer by Sequential Circuit synthesiser for 40 years.”― Ryuichi Sakamoto

“The global view of cultures is part of my nature. I want to break down the walls between genres, categories, or cultures.”― Ryuichi Sakamoto

“I’m always looking out for interesting people.”― Ryuichi Sakamoto

“Somehow, I see music as a garden which has a lot of different styles: contemporary, classic, ethnic, Japanese, rock & roll, and so on. I can enjoy them all, and there is space for them all.”― Ryuichi Sakamoto

“Water is not free anymore. Our resources were free at one time, but now they are not. Everything is getting controlled by big corporations. I’m most worried about this.”― Ryuichi Sakamoto

“I have to follow my instinct and intuition and curiosity.”― Ryuichi Sakamoto

“The majority of the people think that noise is not music. I want to accept noise and even errors and glitches. I enjoy them.”― Ryuichi Sakamoto

“The key concept is to open your ears. Music can be here and there, anywhere surrounding you.”― Ryuichi Sakamoto

“I’m lucky that I have people listening to my music, waiting to see me in North America.”― Ryuichi Sakamoto

“It’s all very well to say this or that on Twitter and Facebook, but ultimately, if you are a musician, it is going to carry more weight if you make your statements through your craft.”― Ryuichi Sakamoto

“In Japan, there has always been a small number of musicians who have been outspoken on social issues, but they tend to be dismissed as radical.”― Ryuichi Sakamoto

“I like to write film music that stands on its own.”― Ryuichi Sakamoto

“My audiences are generally mixed. Some people like techno, others are into the pop music, and others enjoy my film music.”― Ryuichi Sakamoto

“When I do one thing for a long period of time, my attention is usually then drawn in the opposite direction.”― Ryuichi Sakamoto

“I was really into the music of Cream after I finished composing the music for ‘BTTB.’”― Ryuichi Sakamoto

“In the 1980s, Josef Beuys planted the seed that activism could be considered as art. I am influenced by the idea of his idea of social sculpture.”― Ryuichi Sakamoto

“I don’t really know about the art world.”― Ryuichi Sakamoto

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