I think I actually enjoy practicing now more than seven years ago because you're really doing something totally specific.

He's just so much a master of the material, and that's also based on the deep knowledge of the jazz world, of the American musical theater. By having had such a wide and deep history in all these different musical genres he can pick and choose at any moment what needs to be and it's always organic, it's always him, because all of these worlds are a part of him.

Early on he was thinking somehow in the recesses of his mind that 'Hey, maybe we should do that,' and I know he was interested in the possibility of setting the book to music.

He made a score that in some ways is very spare, which fits with the period that is represented in the film, which is actually a unique period in Japanese history because it was a period of transition. Hence, you have all these instruments in transition as well.

Our (nation's) cultural strength has always been derived from our diversity of understanding and experience.

It was just so sweet. It was personally sweet but what he did was actually emotionally right, for the score.

I think it's pretty rare to have the opportunity to work with so many people that I admire in one project.

After reaching 50, I began to wonder what the root of life is.

There is no culture in the world that we have not benefited from.