What I place most importance on is trying to create more opportunities to showcase the music, in a way that new listeners will be able to understand and feel passionate about.
I was originally a minimalist, so that's my foundation.
Synthesizers can be programmed with more imagination than a real, 'human' performance. It's a joyful thing.
You don't get music in your daily life, do you? Even in a movie, it's unnatural to have music. I always feel it's unnatural. But I want to make it not unnatural, to construct reality in another sense.
I have to think in terms of musical tempo. Let's say someone comes into a room and slowly sits down or someone rushes into the room and rushes to sit down. That's how to work out the tempo of the music you produce.
I actually don't like playing the piano or conducting the orchestra.
Usually, I concentrate on work for a certain time, and finish when I clear a standard I set myself. But with 'Mononoke,' the production was so drawn out, it took forever to finish to my satisfaction.
I've largely focused on Japan my whole career, so I was interested to see how my music would be received by people of different backgrounds, religions and cultures.
Japanese orchestras are generally playing at quite a high level on the first day of rehearsal, but they don't improve very much from there.
With streaming, everything is focused on singles. That means an artist's depth doesn't have the chance to shine through.
When I discovered minimal music I felt I could create my vision - it was totally different to traditional music.
I don't want the World Dream Orchestra to be like a dessert whose taste is instantly forgotten as soon as you leave the restaurant.