My goal as a creator is not a kind of a success.
My goal is, I find, I find who I am.
I find what can I do.
It's just my goal.
My name is Yoshihiro Hanno.
I'm a Japanese and actually I'm living in Paris.
I'm a composer of the music and the producer of the house, techno music.
And also I'm a screenwriter and the director of the movie.
One very big thing from our culture is to talk a lot about philosophy and to talk a
lot about our thinking.
It's not so cool, not so cool, you know.
Don't say.
Don't say is cool.
But in Europe, totally different.
If I don't say anything, people feel I don't think anything.
It's a very big difference.
But still I think our Japanese way of thinking and our Japanese spirit, this kind of spirit
is very beautiful.
Still I feel that.
To understand it, to accept it different is the best way for the living life, in the
international life.
We are Japanese, but we have a very big influence from the European culture and European music
in a long time.
And maybe an 80% of my influence is from Europe and from the United States.
It's a bit different from an older generation, old Japanese generation.
So maybe I think next generation is more kind of easy to touch with the European culture.
I think the new generation also must learn from the Japanese traditional cultures too.
So we are Japanese here and here, as always, and we need to find and we need to express
who I am, you know, to know who I am is a very important thing to create something
new.
I'm a very big music lover.
And so I've been listening to many kinds of music since I was a teenager.
My first impression was jazz music, after I was in fever in hip-hop music and after electronic
music and contemporary classical music, many things.
So now I feel only the music is music and we have only a good music and a bad music.
And I don't care about the style, you know.
The most biggest influence is the travel code quest.
Their sound production was totally different from at that time, so end of 80s, end of
80s and early in 90s.
Their production was super minimal, but very colorful.
I was a fever in jazz music when I was a teenager.
And so one of my dreams when I was a teenager was to be a trumpet, like Miles Davis.
I bought a trumpet in one day.
And so I was looking for a teacher.
The next day of the lesson, I played with my trumpet, but the sound is very bad.
And so my teacher, okay, you don't have the ability of playing trumpet.
Maybe you should quit that.
How you can do that?
And my answer is, okay, I can compose and I can sing.
I can sing.
And so my teacher, my teacher, okay, we will make a band, jazz band.
And you compose and you sing, and we play jazz music, okay, and we will start tomorrow.
And that's a starting point and other musician.
This is a Japanese composer, Mr. Toru Takemitsu.
He is the most respectable composer.
And so this piece, the Drill and Horizon, maybe more than great, more than great.
I was a big shock from the hip-hop music, because the hip-hop music is very simple.
Only two records with two-town tables.
And so mixing.
But I felt, wow, this is so cool.
Hip-hop music is kind of so street style.
And so I need to find the mystery of the hip-hop music.
And so I will go into the deep in hip-hop music.
My imagination is very open.
And also my imagination is very experimental and very obo-scure.
In general, I don't harbor exact goal and exact answer for my music.
Because I'm a traveler, going to the goal.
So in the beginning, I don't know where is the goal, but I started to compose in that.
Composition is not so interesting for me, because then I did a lot ten years ago.
And so now I'm composing a note by note.
My composition is like architecture.
Always and people wanted to know the reason for an artist to create something.
But to create something is almost free, no reason.
Music is music, no philosophy, no reason, nothing.
We are organizing the sound.
We use the sound with our imagination.
That's the composing.
Music is always and related from the history to history.
One composer in Japan, so it's a laid-back composer from 1960s something.
He said a very, very important phrase.
Sometimes people say music is evolving, but I don't think so.
Music is always, only changing, not evolving.
If we can create a new music, maybe it's not a music.
It's a love, love something like that.
The best moment is a very simple.
People enjoy my music.
It's the best moment for me.
And so why I play only my tracks, only my music, is that I really want to feel, okay,
you like this music.
I'm very happy, you know.
It's very simple and sometimes I feel and I'm a little bit an egoistic, you know.
Music is a tool of the communication.
It's totally same with languages, totally same with behaviors.
So why am I still playing in the nightclub?
So dancing is a very primitive action of the human behavior.
Dance music is a very good role to keep a communication between people.
That's the reason I love the dance music, still.
Music is a very simple and sometimes I feel and I'm a little bit an egoistic, you know.
My first career as a film music composer was in 1998.
It was suddenly the one very big director in Taiwan and he's called Hou Xiaoshan.
He asked me to work in together.
At that time, so my music was kind of electronic dance music, experimental things.
After accepting, he said to me, hey, Yoshi, you can do everything from you, but my only
my image is, for example, sound of cello, sound of violin is very fit for this film.
And so, yeah, okay, I said, but I totally didn't know about technique to composing
for the cello and for the violins.
I needed to study for the composing classical music at that time, but that was a very big
point of my career as a composer.
I needed to study and after 15 years, almost 15 years, and I was very lucky and I was working
with many very talented directors and producers in almost Asian film.
And that was my very beautiful experience.
But on the other hand, always I had kind of a jealousy.
So why this movie is not mine, you know?
And the last three, four years, and I decided to make my own movie now to making a film
is very, very exciting for me at this moment.
I really would like to make music like life.
So and it's have a pain and joy.
And sometimes people feel this pain, sometimes feel people this harmony, joy, you know?
So changing in the dependent on the situation, I really would like to compose this kind of
music.
I would like to compose life.
That's my goal.
That's my goal.
I would like to compose this kind of music, I would like to compose this kind of music.
I would like to compose this kind of music, I would like to compose this kind of music.
