Akira Ifukube: Movie

“I decided not to score GODZILLA VS. SPACE GODZILLA (1994) when I read the script for the film. The atmosphere was very different. However, when I read the screenplay for GODZILLA VS. DESTROYER, I discovered that it was directly related to GODZILLA - KING OF THE MONSTERS. There was even going to be footage from GODZILLA - KING OF THE MONSTERS in the movie! I felt that since I'd been involved in Godzilla's birth, it was fitting for me to be involved in his death.”

Akira Ifukube

As quoted by David Milner, "Akira Ifukube Interview III" http://www.davmil.org/www.kaijuconversations.com/ifukub3.htm, Kaiju Conversations (December 1995)

Death , Birth , Reading

“More and more film scores are being recorded the way television scores are recorded. The performers are not shown any footage. I personally don't like working that way because if you do not allow the members of the orchestra to see footage on a big screen, they will tend to perform as if they are in a concert hall. They will try not to stand out. They will try to perform as members of an orchestra. What is needed when scoring a movie such as GODZILLA VS. MECHAGODZILLA is playing that is much more aggressive. No matter how much you explain the character of Godzilla to the performers and urge them to play aggressively, they still will play as if they are in a concert hall. However, if you show the performers footage of Godzilla, their playing will dramatically change. That is why I insisted on being allowed to show footage to the performers before I agreed to score GODZILLA VS. GHIDRAH.”

Akira Ifukube

As quoted by David Milner, "Akira Ifukube Interview II" http://www.davmil.org/www.kaijuconversations.com/ifukub2.htm, Kaiju Conversations (December 1993)

Way , Change , Personality

“I don't know much about the score for GODZILLA 1985. However, my impression of GODZILLA VS. BIOLLANTE is a negative one, both in terms of the direction and the music. For example, the music that is heard while the scenes that take place in Saradia are shown is just ridiculous. The composer used European music instead of some modern Arabic music. By the way, during the production of GODZILLA VS. BIOLLANTE, Toho asked for permission to use some of my music in the film. I said that I would allow its use as long as it was not turned into popular music. Toho agreed to that, but just before GODZILLA VS. BIOLLANTE was completed, a Toho representative came to me and said, "Well, your music was turned into popular music." By that time, it was too late to do anything about the situation. After GODZILLA VS. BIOLLANTE was released, my daughter came to me and said, "No matter how much you try to escape from Godzilla movies, Toho always uses your name and your melodies, so why don't you just score the next Godzilla film yourself?"”

Akira Ifukube

That is why I agreed to work on GODZILLA VS. GHIDRAH.
As quoted by David Milner, "Akira Ifukube Interview I" http://www.davmil.org/www.kaijuconversations.com/ifukub.htm, Kaiju Conversations (December 1992)

Music , Way , Time , Daughters

“When I read the script for GODZILLA VS. SPACE GODZILLA, it reminded me of teenage idol films. In addition, the movie was going to have rap music in it. So, I thought, "Well, this is not my world, so I better not score this one."”

Akira Ifukube

As quoted by David Milner, "Akira Ifukube Interview III" http://www.davmil.org/www.kaijuconversations.com/ifukub3.htm, Kaiju Conversations (December 1995)

World , Music , Reading

“Unlike American film score composers, Japanese film score composers are given only three or four days in which to write the music for a movie. Because of this, I have almost always been very frustrated while writing a score. I therefore can't select any of my scores as favorites.”

Akira Ifukube

As quoted by David Milner, "Akira Ifukube Interview I" http://www.davmil.org/www.kaijuconversations.com/ifukub.htm, Kaiju Conversations (December 1992)

Music