Eiko Ishibashi, Composer (“No Evil”): “When I go, I always have a recorder with me”

If film ideas can come from anywhere, they most often remain literary, and countless books have been brought to the screen. More rare are works that arise from a musical idea. However, this is the case There is no such thing as evilThe latest delivery from Japanese prodigy Ryusuke Hamaguchi, in response to the request of his composer, Eiko Ishibashi, who signed the soundtrack. Leave my car (2021). A prominent figure in the Japanese independent scene, sponsored by the grandfather of underground rock Jim O’Rourke (Sonic Youth, Gastr del Sol), this multi-instrumentalist (piano, drums, flute, vocals) plays experimental pop with long fiery flows. Peppered with jazzy accents and “concrete” touches. In a video conference interview, he goes back to the beginning of the film.

How did the idea for the film “There is no such thing as evil” come about?

Recently, I started touring abroad a lot. My international film director asked me about the possibility of illustrating my play with pictures. I thought about it, I didn’t know where to go. At festivals we often see bands accompanied by somewhat abstract images in the background. I wanted something else. for promotion Leave my carRyusuke Hamaguchi and I participated in a cross-examination in public. In this case, I discussed the work of Jean-Luc Godard, whom I admire, of whom I said that a musician like myself could be jealous, because the way he toured was immediately “musical”. Mr. Hamaguchi agreed. Through Godard we shared more than a common reference: a concern for an equal sharing between image and music. So I knew I could relate to him.

How was working with Ryusuke Hamaguchi?

At that time I was very interested in the memory of the disappeared lands and I was preparing an album on this topic. In turn, Hamaguchi worked on the issue of waste treatment based on Fassbinder’s work. Garbage, city and death [1975]. He was going to visit waste sorting or elimination stations. I offered to visit the studio. He attended a recording session, which he filmed, and then suggested that I dress it up with a montage of archives or excerpts from old films. I said no. I preferred him to do what he usually did: write the story, the characters, the situations. He came to scout the region near Kobuchizawa, two hours from Tokyo.