Interview with Masaru Sato


“Interview with Masaru Sato”

――― 福田純監督との作品も音楽録音は一日だったんですか。

――― Did the music recording for the work with Jun Fukuda also take one day?


“Ebirah Horror of the Deep, “Son of Godzilla,” and “Godzilla vs. MechaGodzilla” all take one day. It usually started at 9:00 in the morning and ended at 5:00 in the evening. A normal movie would have ended there. It’s faster now. It won’t take that long.

――― 福田監督のゴジラ映画ですが、音楽のつけどころに関しては佐藤先生がお決めになって?

――― It’s a Godzilla movie directed by Fukuda, but did Mr. Sato decide where to put the music?


Yes. Of course, I will get the approval of the director. Let’s go, okay? Director, is there something wrong? Yes. Just put a little bit here, or something like that. That’s how it feels. Overall, it’s all here. I look at the rush and decide where to put music at that moment. Puff, puff, puff. After watching it two or three times, that feeling fades away. Always keep your first impression. That’s more correct. However, we also have a final meeting about the places marked at the stage of the script. What should I do? Of course, there is also hope from the director’s side.


Both Kihachi-chan and Fukuda-san say that when they do music with me, unexpected things happen. What I thought was going to happen with my directing plan turned out to be ridiculous (laughs). In a good way. If I mess up the production plan, the director says it’s no good. That’s the job of a true music director.

Recorded data

August 24, 1993, at Shinjuku Washington Hotel


“Godzilla Soundtrack Perfect Collection BOX 3” (Toho Music) “Godzilla vs. MechaGodzilla” Excerpted from the interview published in the liner notes and reconstructed.

インタビュー構成 : 小林淳
Interview Composition: Jun Kobayashi



Masaru Sato was born in Hokkaido in 1928. Aspiring to be a film composer, he apprenticed to Fumio Hayasaka, and after Hayasaka’s death, he was in charge of Akira Kurosawa’s works, and worked on numerous film scores representing Japanese films.

Source: ゴジラ東宝チャンピオンまつりパーフィクション, p 120