INDEX
Embracing Works as “Products” with a Focus on “Quality Control” Through Universality
Did you have any specific preferences or philosophies in your approach to music production?
Iwai: Because films already include sound effects and dialogue, I prefer to keep the music as free from unnecessary noise as possible. Even with classical works like Debussy’s, I’ve sometimes rearranged loud sections marked forte or fortissimo into very soft pianissimo passages. When it comes to sound, I’d say I lean toward minimalism.
Iwai: Because Hana and Alice was a comedy, we incorporated woodwind and brass instruments, but at its core, I believe piano and cello are enough to carry most scenes. That’s especially true for Vampire (2012). The music I create tends to be very simple and ambient. Recently, I’ve been experimenting with sounds that can play continuously in the background without ever feeling intrusive.
Whether working with collaborators or composing on your own, is there a particular focus you maintain when creating film music?
Iwai: I always try to attune myself to what the visuals are calling for. That’s the sense I prioritize.
Iwai: Rather than music that clearly smells like it was made “specifically for this film,” I actually prefer when an existing piece unexpectedly fits perfectly. That’s my ideal.
When I create, I’m always aware of the “presence” or “essence” of the work. This applies not only to films and music but also to writing novels. By “presence,” I mean how the work will be perceived and displayed once it’s released. From that standpoint, it’s less of an “artwork” and more like a “product.” Without that product perspective, it’s easy to get lost in self-indulgence. So, I’m quite conscious about maintaining the quality control of the “product.”
Given the strong, unique world your films create, I found it surprising to hear you talk about “product management” instead of just calling them “works of art.”
Iwai: If you label everything as a “work,” then everything — good or bad — is just a “work.” The products around me feel natural to use because someone guarantees their quality. But if the quality is poor, consumers immediately think, “What is this?” No product simply exists by chance; it’s created by a team of dedicated makers who care deeply about quality.
I always thought films were more about being “artworks,” unlike everyday products.
Iwai: Everyday products are meticulously managed down to every single part and produced under strict standards. That level of care and quality control should be the basic premise for films as well.
