here<\/a><\/em><\/p>\nShinji Higuchi Profile<\/em><\/span><\/p>\nBorn in Tokyo in 1965. After joining the production of the 1984 Godzilla<\/em> film as a special effects assistant, he went on to serve as the special effects director for numerous projects, including the Heisei Gamera<\/em> trilogy. He received a Special Award from the Japan Academy Prize for Gamera: Guardian of the Universe<\/em> (1995). His extensive filmography also includes work on many other hit titles, such as the Neon Genesis Evangelio<\/em> series.<\/span><\/p>\n![](\"http:\/\/www.ourstarblazers.com\/vault-images\/apr26\/higuchi326A.JPG\")
\nAuthor Neko Haramaki and Director Shinji Higuchi<\/em><\/p>\nOn February 6, 2026, the new book Introduction to Film Score Music<\/em> was released. It serves as the first-ever introductory guide to geki-ban, the music played during the dramatic scenes of visual media, explaining its unique history of development in Japan and exploring its enduring appeal. In this ongoing column, the book’s author, Neko Haramaki, interviews some of Japan’s most prominent creators to ask them about the magic of film scores. The guest for this momentous inaugural installment is Shinji Higuchi. We sat down with this master of the tokusatsu genre to discuss the deep and intricate relationship between tokusatsu works and music. <\/p>\nDrawn In by the Music of Visual Media<\/h3>\n
“I think this is something common to our generation: my interest in background music, or geki-ban, began with anime soundtracks. The scores for Space Battleship Yamato<\/em> (1974) and Mobile Suit Gundam<\/em> (1979) were my gateway into that world.”<\/p>\n“Later, I started tuning in to a program on NHK-FM where film critic Mitsuo Seki introduced various movie scores. I would record those broadcasts and listen to them repeatedly.”<\/p>\n
“Eventually, as I began buying soundtrack records, I noticed that some of the music actually playing in the TV shows and movies wasn’t included on the discs. I started asking myself, ‘Why isn’t that particular track on the album?’ Or I\u2019d realize that the audio source on the record was completely different from the version actually used in the production itself.”<\/p>\n
“Take the film Blade Runner<\/em> (1982), for instance: the original score was composed by Vangelis and featured synthesizer-based music, yet the initial record release contained a completely different version performed by an orchestra. Those kinds of frustrations and mysteries are inextricably linked to my memories of background music.”<\/p>\nFrom the late 1970s through the 1980s, thanks to the massive success of hits like Star Wars<\/em> and Space Battleship Yamato<\/em>, film scores became commercially viable, leading to the release of a great number of soundtrack albums. Dedicated fans of the genre soon began branching out, seeking out records imported from overseas.<\/p>\n“I learned about a specialty record shop in Shibuya called Sumiya, which focused exclusively on soundtracks, and I started visiting it regularly. I quickly fell down the rabbit hole, following the same path as the veteran fans who came before me, collecting imported soundtracks not released domestically, as well as rare and hard-to-find editions.”<\/p>\n
Sumiya was often hailed as a ‘holy ground’ for soundtrack enthusiasts. Sadly, it closed its doors on January 31, 2008. on that final day, a multitude of fans flocked to the shop, lingering until closing time to bid a fond farewell to a beloved institution. <\/p>\n
“I believe that, typically, the way people enjoy movies and TV dramas is by first engaging with the story and visuals, and then delving deeper from there. However, I\u2019ve always been drawn to what enters through the ears. This was likely amplified by the fact that, back in the days before home video recorders were commonplace, I used to record the audio from TV shows onto cassette tapes just to listen to them.”<\/p>\n
“I became intensely fascinated by the specific choices made regarding sound, how sounds were selected and how they were integrated into the mix. The same went for sound effects. I would find myself thinking, ‘That explosion sounds too thin, it just doesn’t work. It really needs to be this specific sound instead.’ I believe those early experiences served as the genesis of my lifelong dedication to, and meticulous focus on, the role of sound within visual media.”<\/p>\n
![](\"http:\/\/www.ourstarblazers.com\/vault-images\/apr26\/higuchi326B.JPG\")
<\/p>\n
An Encounter with a Key Figure<\/h3>\n
Shinji Higuchi\u2019s career in the world of tokusatsu (special effects filmmaking) began after he visited the set of Toho\u2019s sci-fi film Sayonara Jupiter<\/em> (1984) to observe the production process. It was during this period that he crossed paths with Hideaki Anno, the man who would later go on to create the groundbreaking TV anime series Neon Genesis Evangelion<\/em> (1995).<\/p>\n“We met at a screening hosted by a group called Daicon Film, an independent filmmaking collective. Anno approached me there and said, ‘I\u2019m working on an indie film down in Osaka, why don’t you come join us?’ So, I headed over to a place called Studio Graviton, a workspace for freelance animators that he was involved with at the time.”<\/p>\n
“However, Mr. Anno was tied up with other work, so I ended up waiting at the studio for three or four days until he was finished. As it happened, an exceptionally talented animator named Shoichi Masuo was there, and he possessed a vast collection of film soundtracks. There was even a stereo system available to play them on. To me, it was a veritable treasure trove.”<\/p>\n
“While I was waiting for Mr. Anno, I spent the entire time listening to Mr. Masuo\u2019s soundtrack collection. It contained a huge number of records, titles I couldn’t afford to buy myself, as well as many I never would have thought to purchase. Thanks to that experience, I was able to significantly broaden and enrich my own knowledge and expertise.”<\/p>\n
His encounter with Hideaki Anno also served as the catalyst that drew Higuchi into the field of sound direction. He began participating in projects by Daicon Film, and later by Gainax, the animation studio founded upon that group, assisting with tasks such as selecting music for trailers and creating temporary soundscapes to accompany the visuals.<\/p>\n
Released in 1987, the animated feature film Royal Space Force: The Wings of Honn\u00eaamise<\/em> marked Gainax\u2019s very first full-scale production. Ryuichi Sakamoto served as the film\u2019s music director. Although Higuchi\u2019s official role on the project was that of assistant director, he also lent a hand in creating the sound design for several specific scenes.<\/p>\n“Toward the end of the film, there is a pivotal scene in which the protagonist, having traveled into space, looks down to gain a panoramic, bird’s-eye view of the entire history of humanity. However, production had fallen behind schedule, and the animation for that scene simply wasn’t ready yet. Since we were utilizing a technique known as ‘film scoring’, composing music specifically to synchronize with the on-screen visuals, Ryuichi Sakamoto couldn’t possibly write the score without having the actual animation to work from.”<\/p>\n
“So, once the scene’s layouts were completed to a certain extent, I took it upon myself to colorize them, film them, and assemble them into a rough, temporary reel. We then used that reel as a visual guide for Mr. Sakamoto to compose the music. The sheer pressure of knowing that Mr. Sakamoto was composing his score based on the visuals I had created was absolutely immense.”<\/p>\n
“I kept thinking, ‘Am I really allowed to be doing this?’ After all, I was just a guy who happened to love film soundtracks. I hadn’t received any formal training in music theory or sound direction.”<\/p>\n
From its very inception, Gainax fostered a studio culture that placed a strong emphasis on sound design, not merely on the visuals. Consequently, Higuchi was afforded the opportunity to gain hands-on experience in sound direction across a wide variety of contexts and projects. The TV anime Nadia: The Secret of Blue Water<\/em> (1990), with Hideaki Anno serving as General Director and Gainax handling the animation production, is one such example.<\/p>\n“I joined the production midway through the broadcast run and ended up directing the episodes where Nadia and her companions are stranded on a desert island (Episodes 23 through 34). Fortunately, the show was well-received, and a decision was made to conduct a second round of music recording.”<\/p>\n
“Mr. Anno actually handed over half of the tracks for that second recording session to me. He told me I was free to commission them however I liked. So I personally drafted the ‘menu’ of tracks to be commissioned from composer Shiro Sagisu, essentially a detailed order sheet outlining the specific imagery and musical tone required for each piece.”<\/p>\n
“I even handed him reference audio tracks that were a pure reflection of my own personal tastes, saying, ‘I want the music to sound something like this.’ Mr. Sagisu didn’t make a single face of displeasure. he simply rose to the challenge. Furthermore, they even allowed me to handle a portion of the actual work of spotting, fitting the music to the visuals.”<\/p>\n
“Strictly speaking, that was Sound Director Katsunori Shimizu\u2019s job, but he graciously entrusted it to me. From commissioning the music to selecting the specific tracks for each scene, it was an incredibly valuable learning experience. I am deeply grateful to both Mr. Anno and Mr. Shimizu.”<\/p>\n
![](\"http:\/\/www.ourstarblazers.com\/vault-images\/apr26\/higuchi326C.JPG\")
<\/p>\n
Creating Music Using Temp Tracks<\/h3>\n
In March 2005, Lorelei: The Witch of the Pacific Ocean<\/em>, Shinji Higuchi\u2019s first feature-length film as a director, was released. Since then, Higuchi has gone on to direct a succession of large-scale theatrical films, including Japan Sinks<\/em> and Shin Ultraman<\/em>. From this point forward, let\u2019s hear directly from Higuchi on how he approaches music creation in his own directorial works and how he utilizes it to enhance his storytelling.<\/p>\nThe musical score for Lorelei<\/em> was composed by Naoki Sato. He is one of Japan\u2019s leading film composers, a recipient of the Japan Academy Film Prize for Best Music for ALWAYS: Sunset on Third Street<\/em> (2005), and the creator behind the scores for numerous acclaimed films since then, such as Godzilla Minus One<\/em> (2023). However, at the time Lorelei<\/em> was in production, he was still relatively new to the field of film scoring. <\/p>\n“For Lorelei<\/em>, I personally selected and placed every single ‘temp track’, the temporary music added to the footage as a reference for the actual score, and asked the composer to write their music to fit those specific cues. It meant that Naoki Sato, whom I was collaborating with for the very first time, ended up having to fulfill some rather unreasonable requests of mine.”<\/p>\nThe musical score for the 2006 film Japan Sinks<\/em> was composed by Taro Iwashiro. A highly accomplished artist, Iwashiro has been composing music for numerous films, TV dramas, and other projects since the 1990s, and has even contributed to international productions such as Red Cliff<\/em> (2008).<\/p>\n“I applied the same approach for Japan Sinks<\/em>, selecting and placing all the temp tracks myself. I imagine Iwashiro must have felt some resistance to that process. however, when I heard the finished pieces, I realized he had gone to great lengths to align his compositions with those temp tracks. It made me feel a bit guilty, as if I had put him through an unnecessary ordeal.”<\/p>\n“Since he already possessed extensive experience in film scoring, we didn’t spend much time discussing specific musical pieces during our meetings. What left a lasting impression on me was his remark: ‘Let’s decide exactly where the main theme will be placed, and then work backward from there to construct the overall musical architecture of the film.'”<\/p>\n
The 2008 film The Hidden Fortress: The Last Princess<\/em> is a remake of Akira Kurosawa\u2019s 1958 classic, The Hidden Fortress<\/em>. The musical score for this remake was composed by Naoki Sato.<\/p>\nJapan Sinks<\/em> is also a remake, specifically, of the 1973 film of the same name. In both cases, the original versions of these films were scored by the legendary master of film music, Masaru Sato. One might wonder, when conceptualizing the music for these new adaptations, did the composers draw any inspiration from the scores of the original films? <\/p>\n“On the contrary, I actually wanted to create music that was completely different. However, in the original Japan Sinks<\/em>, there was a highly effective use of what we call ‘music effects’, sounds that exist somewhere between musical scores and sound effects, so I did mention that I wanted something like that.”<\/p>\n“I wanted the actual music to be distinct, yet I aimed to capture a similar impression and atmosphere. I took a similar approach with The Hidden Fortress<\/em>. When I expressed my desire to pursue a specific tonal direction, Naoki Sato offered a wealth of creative ideas in response.”<\/p>\nThe 2015 film Attack on Titan<\/em> featured a musical score composed by Shiro Sagisu, with whom the director had previously collaborated on Nadia: The Secret of Blue Water<\/em>. For this project, the director reportedly re-evaluated his approach to using temp tracks. Underlying this shift was seemingly a sense of self-reproach, a feeling that he had become overly reliant on them.<\/p>\n“I began to consider that, even if I were to use temp tracks, it might be better to avoid selecting pieces by foreign composers. Eventually, an idea struck me: why not use the composer’s own past works? I reasoned that a composer would face no creative resistance in referencing their own material. furthermore, since the music would be drawn from their own artistic sensibility, I felt it would enable them to compose something even more evolved and sophisticated.”<\/p>\n
“I selected tracks from works such as the animated film Berserk: The Golden Age Arc<\/em> (2012), which Sagisu had previously scored, and laid them over the footage to serve as a reference for him. Since then, I have continued to employ this method of using the composer’s own past works as temp tracks.”<\/p>\n![](\"http:\/\/www.ourstarblazers.com\/vault-images\/apr26\/higuchi326D.JPG\")
<\/p>\n
Part 2: Shinji Higuchi on the Power of the Film Score, “Movies Manipulate Audience Emotions Through Sound”<\/h2>\n
It is not visuals alone that generate the visceral impact of a film. Shinji Higuchi, the director behind the Heisei Gamera<\/em> series and the Netflix film The Bullet Train<\/em>, asserts, “I believe that sound is the greatest tool for controlling an audience’s emotions.” What are the behind-the-scenes stories from his collaborations with composer Taisei Iwasaki and others? And what lies behind the directorial techniques used to heighten tension through music? Director Higuchi discusses the world of the “film score”, the musical foundation that supports the cinematic experience.<\/p>\nLearning Music Direction While Making Movies<\/h3>\n
The film The Floating Castle<\/em> (2012), which Higuchi co-directed with Isshin Inudo, featured a musical score composed by Koji Ueno. Ueno was active in the 1980s as a member of the techno-pop unit Guernica and has since composed scores for numerous films.<\/p>\nHe also participated in the music production for Royal Space Force: The Wings of Honn\u00eaamise<\/em>, working alongside Ryuichi Sakamoto, Yuji Nomi, and Haruo Kubota. <\/p>\n“I\u2019ve been listening to Mr. Ueno\u2019s music since his days with Guernica, and I\u2019ve always admired it. The score he composed for the film Teito Taisen<\/em> (1989) was also excellent. So I was absolutely thrilled when the opportunity arose to work with him.”<\/p>\n“However, the Great East Japan Earthquake struck right in the middle of production, causing significant delays in our workflow. Our original plan involved Mr. Ueno creating musical demos, reference tracks outlining the melody and mood, along with ‘base tracks’ synchronized to the visuals to serve as rhythmic and tempo guides; we would then replace these base tracks with live orchestral recordings. But given the circumstances, we simply didn’t have the luxury of time to produce those base tracks.”<\/p>\n
“Mr. Ueno asked me, ‘It doesn’t have to be polished, could you assemble some temporary tracks to help us synchronize the music with the visuals?’ So, I took Mr. Ueno\u2019s demos, cut and spliced \u200b\u200bthem to fit the footage, and created those reference tracks myself. Of course, Mr. Ueno wrote the actual compositions, but for certain scenes, I was given the opportunity to handle the specific task of aligning the music with the visuals.”<\/p>\n
While working on the film, Higuchi began to acquire practical expertise in music direction.<\/p>\n
“Running parallel to the production of The Floating Castle<\/em>, I served as the supervising director for a late-night TV drama series titled MM9<\/em> (2010).”<\/p>\n“We commissioned Tsuneyoshi Saito, a member of the trio Kryzler & Kompany (formed by Taro Hakase and others), to compose the score. However, since it was a weekly series, I realized it would be impossible for me to handle the music direction personally. So, I entrusted the entire task to a highly sought-after music selector named Mr. Kazuyuki Ishii.”<\/p>\n
“Mr. Ishii utilized ‘stem data’ to freely edit and manipulate the music, fitting it precisely to the visuals. It was a real learning experience. I remember thinking, ‘So this<\/em> is how you use stems!'”<\/p>\nStem data refers to audio data in which a musical composition is broken down and recorded according to specific instrument groups, such as rhythm sections, string sections, or brass sections. When all the stems are mixed together, they form the complete musical piece. Alternatively, one can choose to use only the string section, for instance.<\/p>\n
This technique also allows for creative arrangements, such as a piece that begins with just the rhythm section and gradually layers in additional instruments. It is a technique that became feasible thanks to the increasing digitalization of music production. For the 2018 TV anime series Hisone and Masotan<\/em>, for which Higuchi served as supervising director, Taisuke Iwasaki was in charge of the music. Iwasaki is a composer known for his film scores, including those for Moteki<\/em> (2011) and Joker Game<\/em> (2015); he also won the Japan Academy Film Prize for Best Music for Director Mamoru Hosoda\u2019s animated feature, Belle<\/em> (2021).<\/p>\n“Iwasaki-san had written a blog post analyzing film scores that I found incredibly fascinating, so when I produced the short film Giant God Warrior Appears in Tokyo<\/em> (2012), I asked him to compose the music. We\u2019ve been working together ever since.”<\/p>\n“For Hisone and Masotan<\/em>, I wanted to take a different approach to music production than is typical for TV anime. Usually, for a TV series, you start by drafting a ‘music menu’, a list of dozens of cues, and then commission the music based on that. We decided to abandon that method. Since it was a 12-episode series, I simply told him, ‘For now, just compose 12 tracks however you like.’ I handed him some notes describing the desired mood and imagery for each piece, written in a rather poetic style, and let him compose freely.”<\/p>\n“He delivered the tracks to me as stem data, and for each episode, I personally edited and assembled those stems to create a score that fit the visuals. It was an incredibly enjoyable process. During our second recording session, Iwasaki-san suggested, ‘I\u2019d like to try doing some film scoring,’ so for certain sections, he composed the music specifically to match the on-screen action.”<\/p>\n
“Since Iwasaki had already seen the footage I had scored myself, our creative direction rarely diverged, even during the film-scoring sessions. It made the entire collaboration remarkably smooth.”<\/p>\n
![](\"http:\/\/www.ourstarblazers.com\/vault-images\/apr26\/higuchi326E.JPG\")
<\/p>\n
Sound Direction for The Bullet Train<\/em><\/h3>\nReleased (and streamed) on Netflix in 2025, the film The Bullet Train<\/em> stands as a tour de force, a work infused with Director Higuchi\u2019s meticulous vision and attention to detail. The musical score was composed by Taisuke Iwasaki, who approached the project with a creative strategy distinct from his previous endeavors. <\/p>\n“To determine the musical direction, I asked Mr. Iwasaki to provide a variety of reference tracks; I would then share my impressions of them with him, he would send me another batch, and we repeated this back-and-forth process several times.”<\/p>\n
“Rather than me selecting the temp tracks myself, I structured it so that Mr. Iwasaki would be the one making the suggestions. If I were to choose them, the result would inevitably end up sounding like ‘that old song I remember.’ Since that approach would prevent us from ever transcending the limits of my own imagination, I decided it would be better to let Mr. Iwasaki make the selections. That method proved successful, and I believe we were able to create a soundscape that rivals the latest film scores coming out of the West.”<\/p>\n
Mr. Iwasaki did not merely compose the music; he also paid meticulous attention to the overall audio balance within the film itself.<\/p>\n
“Apparently, Mr. Iwasaki acquired a specific expertise through his work on Belle<\/em>, namely, the know-how to balance dialogue and music so that both can be heard clearly and harmoniously. In many Japanese films, when dialogue and music overlap, the dialogue often becomes difficult to discern, or the volume of the music ends up being lowered.”<\/p>\n“However, by skillfully applying ‘sound equalization’, a process involving the fine-tuning of audio quality and the removal of noise, it becomes possible to achieve a perfect balance without having to lower the music’s volume. In the industry, this technique is referred to as ‘sound treatment,’ and we implemented it throughout the film entirely at Mr. Iwasaki’s suggestion. Thanks to his efforts, we were able to construct a soundscape that went way beyond my original vision.”<\/p>\n
The film’s soundtrack features numerous tracks exceeding five minutes in length, another detail that reflected Mr. Higuchi’s specific artistic vision. <\/p>\n
“Viewers probably won’t consciously notice it, but throughout the score, there is a low-frequency tone playing continuously, and we gradually increase its volume. By letting that sound register in their ears, we designed it to make the audience feel their hearts pound or to instill a sense of tension.”<\/p>\n
“That\u2019s why, once you start watching this film, you really shouldn’t stop it midway through. Since it\u2019s on Netflix, you can<\/em> pause it. However, if you stop to go to the bathroom and then resume watching, you\u2019ll suddenly think, ‘Whoa, the sound is loud!’, and the trick will be exposed. It would be a real shame if people ended up lowering the volume because of that, so I really hope everyone watches it straight through to the very end without stopping.”<\/p>\nAlthough it wasn’t a mandatory requirement for Netflix, the production team also created audio data for Dolby Atmos, a form of spatial audio technology. In October 2025, a limited-run theatrical screening utilizing this specialized audio mix was successfully realized.<\/p>\n
“To spatially arrange over 800 separate audio tracks, we spent about four days just on the dubbing process. It was an incredibly grueling task, absolute hell, really, but it was also a lot of fun.”<\/p>\n
![](\"http:\/\/www.ourstarblazers.com\/vault-images\/apr26\/higuchi326F.JPG\")
<\/p>\n
The Appeal of the Film Score<\/h3>\n
What drives Director Higuchi to obsess over sound, treating it as equal to, if not even more important than, the visuals themselves?<\/p>\n
“For people of my generation, we used to listen repeatedly to audio dramas on vinyl records, or to cassette tapes where we\u2019d recorded the audio from TV shows, as a way of savoring the entertainment value of movies and television. Therefore, our benchmark for what constitutes ‘entertainment’ is rooted in sound. I truly believe that if something is entertaining based on sound alone, even without any accompanying visuals, that<\/em> is the mark of true quality.”<\/p>\nWe asked him once again: what, fundamentally, is the role that a film score plays within a visual production? <\/p>\n
“While closing your eyes makes an image disappear, sound is something you can\u2019t completely shut out, even if you cover your ears, because you still perceive it through vibration. That is why I believe sound is the most powerful tool for guiding an audience’s emotions.”<\/p>\n
“Music can achieve things that visuals alone can’t. It serves as a kind of lifeline, the thought that ‘as long as the music is good, we can pull this scene off.’ I simply cannot imagine a film without music. That said, when I watch works created by others, I sometimes find myself thinking, ‘This scene really doesn’t need any music.’ (Laughs)”<\/p>\n
“It\u2019s hard to notice that tendency when you\u2019re in the midst of creating something yourself. You inevitably get anxious and end up layering on too much music. Speaking partly as a self-admonition, I feel that many works produced today tend to rely too heavily on their musical scores.”<\/p>\n
While a film score serves as an integral part of a visual production, it is also frequently listened to as a standalone musical entity, whether in the form of a soundtrack album or otherwise. What, then, constitutes the pleasure of listening to film scores? What is their unique appeal?<\/p>\n
“Listening to a film score allows my imagination to take flight. Since scores are composed specifically to accompany visuals, they often possess certain ‘missing elements’ when listened to purely as music, maybe a sparseness of sound, an unconventional structural progression, or a brevity that feels incomplete. But I feel that these gaps stimulate the imagination, enabling me to construct a rich and vivid world within my own mind.”<\/p>\n
“It may be an odd genre of music, but once you\u2019ve discovered the joy of it, there’s simply no turning back.”<\/p>\n
<\/br><\/p>\n
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