Hinako Kimoto
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<p>In this exclusive installment of our Monthly Feature series, Billboard Japan sits down with acclaimed composer Marihiko Hara, the creative force behind the hauntingly beautiful score for the cinematic milestone, <em>KOKUHO</em>.</p>
<p><em>KOKUHO</em> has firmly etched its name into the annals of Japanese cinema. With box office receipts surpassing 20 billion yen ($125 million), it stands as the highest-grossing live-action Japanese film of all time. During the 49th Japan Academy Film Prize in March 2026, the production dominated the ceremony by securing 10 accolades, including Picture of the Year. Hara’s contributions were duly honored with awards for Outstanding Achievement in Music and Theme Song. The film’s evocative anthem, "Luminance"—a collaboration between Marihiko Hara and Satoru Iguchi—enjoyed a sustained presence on the Billboard Japan charts, signaling a fascinating evolution in how film scores and theme tracks can symbiotically capture the public imagination.</p>
<p>Hara reflects on the delicate creative process of scoring <em>KOKUHO</em>, discusses the enduring influence of the late Ryuichi Sakamoto, and outlines his ambitious vision for the future.</p>
<h3>The Academy Award Victory</h3>
<p><strong>Reflecting on your double win at the Japan Academy Film Prize, how does it feel to see the project come to such a triumphant conclusion?</strong></p>
<p>Closing the door on this chapter feels surreal. A year ago, as the project was still finding its footing, I never envisioned this level of recognition. It’s still difficult to fully grasp the scale of what we achieved.</p>
<p><strong>Being part of a historic cultural moment must feel significant.</strong></p>
<p>It’s a privilege, certainly. However, what brings me the most genuine joy is that the music, which I crafted with complete creative sincerity, resonated with so many people. I didn’t attempt to dilute my artistic voice to appeal to a broader demographic; I stayed true to my own sensibilities. To be recognized for music that I truly stand behind is a deeply humbling reward.</p>
<h3>Collaborating with Lee Sang-il</h3>
<p><strong>This marks your second partnership with director Lee Sang-il following <em>The Wandering Moon</em>. Where did you begin your journey with <em>KOKUHO</em>?</strong></p>
<p>I was already familiar with the source material, having read the novel prior to the offer. While the story revolves around the world of kabuki, I didn’t need to start my research from scratch. I’ve been a devoted follower of kabuki since 2014, attending performances regularly. My past experience working at the Kabuki-za theater in Tokyo meant I was already steeped in that atmosphere. However, having poured every ounce of my energy into <em>The Wandering Moon</em>, I did harbor some initial anxiety about whether I could replicate or surpass that intensity.</p>
<p><strong>Your work has long featured traditional Japanese sounds, as seen in your 2020 album <em>PASSION</em>. How did that background influence your approach here?</strong></p>
<p>My musical upbringing—shaped by figures like Toru Takemitsu and Ryuichi Sakamoto—has always integrated non-Western textures. Whether it was lessons in noh chanting during middle school or my grandmother playing the shamisen, these sounds were my baseline. For <em>KOKUHO</em>, I didn't want to just "add" Japanese instruments; I wanted to expand my own sonic palette organically, incorporating elements like the shakuhachi or the Persian santur.</p>
<p><strong>Surprisingly, you placed the Western viola da gamba at the heart of the score rather than traditional Japanese instruments. What was the thinking there?</strong></p>
<p>To use traditional hayashi music would have felt redundant, even clichéd. <em>KOKUHO</em> isn't just a film *about* kabuki; it is a film about Kikuo’s life. I wanted to evoke the spirit of the era when kabuki originated (circa 1603). Drawing inspiration from Takemitsu’s work on the film <em>Rikyu</em>, I sought a bridge between the Renaissance and the present. The viola da gamba provided that archaic, visceral texture I needed to pull the "demon of theater" into a modern context.</p>
<h3>The Creative Process</h3>
<p><strong>You’ve mentioned that the low, booming sound of the viola da gamba served as a kind of "foothold" for the entire project.</strong></p>
<p>Exactly. After I processed those low-frequency phrases, the sound triggered a memory of a strange physical heaviness I experienced during a sound check at the Kabuki-za years ago. The resident musicians jokingly called it a "baptism." When I played the demo for Director Lee, he immediately recognized the power in it, though he correctly noted we needed a broader melodic structure to carry a three-hour film. That set the foundation for how we balanced texture and melody.</p>
<p><strong>How did the collaboration with Satoru Iguchi on "Luminance" evolve?</strong></p>
<p>We spent significant time in residential workshops in Kyoto. The theme song wasn’t part of the initial brief, but as the film took shape, it felt necessary. Satoru’s voice was the only one I could hear for the track, so I composed with his unique timbre in mind. Bringing in Miu Sakamoto to pen the lyrics was the final piece of the puzzle. Her ability to craft sparse, poignant words that exist somewhere between breath and melody was exactly what the piece required.</p>
<p><strong>You and Miu share a unique bond. It’s almost poetic, given your shared connection to the legacy of Ryuichi Sakamoto.</strong></p>
<p>That realization actually gave me a jolt during the process. Miu and I were both profoundly shaped by Sakamoto-san’s music, albeit in different ways. Working with her feels like an extension of that lineage. While I still consider myself a constant pursuer of music, those moments of collaboration make it feel like a shared, living language.</p>
<p><strong>What lies on the horizon for you?</strong></p>
<p>I intend to keep pushing into film, ideally with international directors. I’m currently finalizing a new solo album for release this year, and I’m eager to get back to performing live. I’m also becoming increasingly interested in the intersection of sound and architecture—specifically in designing acoustic spaces that function without the need for electricity.</p>
<p><em>—Interview by Tomonori Shiba, originally published by Billboard Japan</em></p>
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