A Quote by Ryuichi Sakamoto

Time is the main subject for any musicians, music writers, composers. — © Ryuichi Sakamoto
Time is the main subject for any musicians, music writers, composers.
Having an opportunity to sit down with Directors, Actors, Musicians, Writers and Composers to talk about their relationship with music, both professionally and personally is my idea of heaven.
I think the tendency to paint composers or styles of music with too broad a brush - for example, identifying composers as writers of "simple" or "complex" music - has become increasingly problematic and is almost never productive.
Since music is a reflection of our mindset and our culture, it is bound to change with time. I am glad that India is such a receiving country and is always open to all kinds of music. Our composers, singers and writers are open to experimenting.
It was about finding creative, original musicians. Musicians who are strong composers. Flexible, empathetic musicians, who are great individually but who also have a great sense for cooperation and collaboration, great listeners as well as great players.
I never use someone just because they are great musicians. I work with people who have the same kind of feeling towards the music that I do, and the subject that I'm speaking of at that time.
Some musicians make and record music; other musicians play in a band... I just make and record music, and I don't feel a part of anything in any music business.
I think the other thing that's important is getting to a place, which very, very rarely happens with improvising groups, where somebody can decide not to play for a while. You watch any group of musicians improvising together and they nearly all play nearly all the time. In fact I often say that the biggest difference between classical music and everything else is that classical musicians sometimes shut up because they're told to, because the score tells them to. Whereas any music that's sort of based on folk or jazz, everybody plays all the time.
We always have a basic structure for a piece of music, but we encourage the musicians to elaborate on whatever they feel at that particular moment. There's a definite conversation happening on stage. I think it is very important for us as creative musicians, to instantaneously describe any energy that is visible at that time.
Writers are painful friends, and they are seldom friendly with others. They are insecure in the presence of other writers. Composers of certain kinds of music are the same--tormented and intolerant. Yet some arts not only make the artist social but make him depend upon sociability in order to succeed. Painting is one.
For me, let's keep jazz as folk music. Let's not make jazz classical music. Let's keep it as street music, as people's everyday-life music. Let's see jazz musicians continue to use the materials, the tools, the spirit of the actual time that they're living in, as what they build their lives as musicians around.
Even experimental composers, revolutionary composers, self-styled radicals are, in writing revolutionary music, recognizing the music that preceded them precisely by trying to avoid it.
I was very drawn to music of all types, from Beethoven to Jimi Hendrix. There were musicians and composers who obviously were expressing a vision that was beyond the mundane.
Composers don't just sit in a room and write things that are in their heads, they actually listen to a lot of music, pop music, jazz, rock and roll, any combination of music that catches their ear.
I can't fathom writers married to writers and musicians married to musicians. There's your enemy in bed beside you.
There was a time in the 1980s when music was almost over. If you think about it, it will be tough for you to remember any song which came during that time. But now music has come back. There are amazing musicians like Vishal-Shekhar, Amit Trivedi, Sneha Khanwalkar who are doing a good job.
Communists love to make films about composers, because composers compose music and don't talk subversive things.
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