Marihiko Hara Shares His Artistic Journey and the Inspiration Behind 'KOKUHO' in Billboard Japan's Monthly Feature

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Billboard Japan recently featured an interview with composer Marihiko Hara, known for his work on the film KOKUHO. This conversation is part of their MONTHLY FEATURE series, which highlights noteworthy artists and works.

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KOKUHO has made a significant mark in Japanese cinema, grossing over 20 billion yen ($125 million) at the box office, thus securing its position as the highest-grossing live-action Japanese film of all time. At the 49th Japan Academy Film Prize in March 2026, the film won 10 awards, including Picture of the Year. Hara also achieved recognition in the Outstanding Achievement in Music and Theme Song categories. The film’s theme song, “Luminance,” performed by Marihiko Hara feat. Satoshi Iguchi, has enjoyed a notable run on the Billboard Japan charts, indicating a shifting dynamic between film scores and theme songs.

In the interview, Hara shared insights into the creative process behind the music for KOKUHO, his inspirations from Ryuichi Sakamoto, and his future endeavors.

KOKUHO has become a truly major phenomenon. You won in the Outstanding Achievement in Music and Theme Song categories at the Japan Academy Film Prize — how are you feeling now?

Now that the Japan Academy Film Prize is behind me, there’s a sense that one chapter has closed. But honestly, a year ago, I never imagined it would turn out like this. I still can’t quite believe it.

I imagine it’s starting to sink in that you were part of a work that marks a turning point in Japanese film history.

That too, but what makes me happiest is that the music I made, straightforwardly as my own, has been received this way. The core of it hasn’t changed from anything I’ve done before. Of course, I adapted to the scale of the film, but I never made something different just to appeal to a wider audience. It’s music I can genuinely hold my head up and call my own, and being recognized for that is what I’m most grateful for.

KOKUHO marks your second collaboration with director Lee Sang-il, after The Wandering Moon. How did you begin working on the score?

When the offer came, I’d already read the novel it’s based on. KOKUHO centers on kabuki, but it wasn’t as though I started studying it when the offer came in — I’d actually been attending kabuki performances since around 2014. I was genuinely hooked, watching at least one production a month. I’d even had a chance to work at the Kabuki-za theater in Tokyo, so I wasn’t overly conscious of kabuki itself. However, I had completely exhausted myself working on The Wandering Moon, creating a slight anxiety about whether I could surpass that work, alongside a determination to do so.

Beyond kabuki, you had used traditional Japanese instruments on your 2020 album PASSION. Were you already engaged with that territory before this project?

Yes. The music I’d listened to over the years naturally included instruments from outside the Western tradition, so my ear was already attuned to them. My middle school had weekly lessons in noh chanting, and my grandmother played shamisen, so traditional Japanese instruments were part of my world early on. It wasn’t so much a question of wanting to incorporate them into my music, but more of expanding my palette of sounds.

In the KOKUHO soundtrack, the viola da gamba is a focal point. How did that decision come about?

I only added the shakuhachi as a traditional Japanese instrument. I knew kabuki performances include hayashi music, so incorporating traditional instruments felt counterproductive. KOKUHO is not a kabuki film but a film about Kikuo’s life. The viola da gamba was already featured in previous works of mine, and I aimed for a contemporary take on Takemitsu’s music. I wanted to embody a spirit that has existed since the beginning of kabuki, introducing it into the present through the viola da gamba.

In another interview, you mentioned that when you discovered the distinctive low boom of the viola da gamba, it felt like a demon’s presence.

Yes. I wrote an ascending phrase for the player and processed it, lowering the pitch among other things. The resulting sound connected with a strange experience I had in 2017 at the Kabuki-za. I remembered feeling physically heavy at the time, and reflecting back on that moment gave me the confidence in the timbre. I included it in my first demo, although there wasn’t a main theme at that stage. Director Lee appreciated it but said we needed a melody that could sustain the film.

This reflects your identity as an artist, balancing timbre and melody. How was this expressed in KOKUHO?

I knew melody was necessary, but I hadn’t found the KOKUHO melody yet. Timbre comes more naturally to me, so I started with the sound and worked towards the main theme, ultimately agonizing over the melody afterward.

How did the theme song “Luminance” come together?

We had work sessions in Kyoto, roughly forty days in total. By the third session, the main theme had taken shape, and Director Lee later suggested the idea of a theme song. It wasn’t part of the original brief, but I aimed to create music that offered a sense of freedom, merging our visions without much struggle.

What are your thoughts on Satoru Iguchi’s singing?

I was aware from the start he would sing it, so I had him in mind while composing. I had no doubts it would be excellent.

The lyrics were written by Miu Sakamoto. How did that collaboration happen?

I suggested her because the song has sparse lyrics, and she often works with minimal words. Her simplicity shines when set to melody, making her the ideal choice.

It seems you have a close connection with Miu Sakamoto.

I had listened to her music since her debut, but we only met after her father, Ryuichi Sakamoto, passed away. We had always been aware of each other but never had the opportunity to connect. After finally meeting, we quickly began collaborating, as if it was meant to be. We share a connection through Ryuichi’s music, making our bond feel almost familial.

Reflecting on Ryuichi Sakamoto’s influence and the relationship between Kikuo and Shunsuke, do you find parallels with your collaboration with Miu?

I hadn’t thought about that before, but I can see the connection. My immersion in Kikuo’s story has been profound, and I often sense musicians with an innate musicality. I feel I am always pursuing music rather than being naturally gifted.

Looking ahead, what aspirations do you have for your career?

I want to continue working in film and collaborate with directors from outside Japan. My last album, PASSION, was released in 2020, so I’d like to finish a new one this year. I’m receiving concert invitations as well, and I aim to focus on performing. Additionally, I wish to explore writing essays and working on acoustic architectural spaces without electricity.

—This interview by Tomonori Shiba first appeared on Billboard Japan