Time in our universe is always one way: no going back, no reverse. In music, you can reverse it!
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.
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.
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.
Time is the main subject for any musicians, music writers, composers.
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.
I've realised that if it is to remain relevant, contemporary music needs to change.
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.
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.'
That's the meaning of 'The Revenant': It's a return from death.
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.
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.