Ryuichi Sakamoto’s “great regret” about David Bowie
While Ryuichi Sakamoto may not be a name that rings familiar to all, the versatile musician and composer has left a remarkable imprint on the landscape of music and cinema. From his groundbreaking work with the pioneering electronic music group Yellow Magic Orchestra to his haunting, Oscar-winning score for Bernardo Bertolucci’s The Last Emperor, Sakamoto’s innovative approach to composition has made him an influential figure in the arts. Yet, despite his numerous accomplishments, there remains one regret, a missed opportunity involving another global icon – David Bowie.
Much like Sakamoto, Bowie, too, was an artist of multifaceted nature. He was a singer, songwriter, and actor known for his chameleon-like ability to reinvent himself across his career. His influence, as did Sakamoto’s, extended beyond the sphere of music and into fashion, visual art, and cinema. From his genre-defining work as a musician to his mesmerising performances in films like Labyrinth, Bowie left an indelible mark on the broad and expansive canvas of popular culture.
Their paths crossed in the 1983 film Merry Christmas, Mr Lawrence, where they both played significant roles and Sakamoto composed the film’s evocative score. This unique intersection of their careers seemed destined to foster a lasting bond between the two artists. Yet, in a 2018 interview with The Guardian, Sakamoto admitted, much to his chagrin, that he failed to reconnect with Bowie when they were both living in downtown New York. In his own words, it was his “great regret”.
A shared silence followed; two parallel lives filled with artistry and innovation that unfortunately never intersected again. As Sakamoto continued to push boundaries in music, experimenting with ambient and abstract soundscapes, Bowie too was on his own artistic journey, releasing albums that challenged conventional norms of pop music and taking on challenging acting roles that showcased his versatile talent.
The regret of not reconnecting with Bowie, for Sakamoto, perhaps carries with it the missed potential of a fascinating artistic collaboration – or the simple joy of camaraderie shared by two unique artists. Both men, rooted in music but extending their creativity into acting, were, in many ways, kindred spirits, albeit sailing in different waters.
It’s intriguing to contemplate what could have emerged from a renewed connection between these two titans of creativity. Perhaps they might have collaborated on another film, delivering more captivating performances with Sakamoto’s emotionally resonant music underscoring the story. Or maybe they would have simply enjoyed each other’s company, reminiscing about their shared past and discussing future plans.
Sakamoto’s passing in late March, 2023 was undoubtedly a tragedy. Despite being 71, it’s clear that he would have continued to contribute hugely to the world of solo music and film composition. It’s a testament to his work ethic and imagination, however, that even since his passing, Sakamoto’s music lives on with the soundtrack for the 2023 Japanese drama, Monster. And, even for those who aren’t religious or spiritually inclined, there’s something nice about the thought that, with Bowie and Sakamoto having both departed from this life, perhaps somewhere out there, they’ve had a chance to get to know each other.
