Unlike American film score composers, Japanese film score composers are given only three or four days in which to write the music for a movie. Becaus… - Akira Ifukube

There are two types of composers. Like Stravinsky, some always are aware of the instrument that will be playing a given melody. However, other composers do work out the orchestration only after they have finished composing. I'm like Stravinsky. I always write music with specific instruments in mind.

I didn't use the music from the scene in which Godzilla dies in GODZILLA - KING OF THE MONSTERS for the one in which he does actually meltdown because Godzilla was not what I was trying to focus on this time. Instead, I tried to focus on the dark side of humanity, which lead to the creation of atomic weapons, and Godzilla.

More and more film scores are being recorded the way television scores are recorded. The performers are not shown any footage. I personally don't like working that way because if you do not allow the members of the orchestra to see footage on a big screen, they will tend to perform as if they are in a concert hall. They will try not to stand out. They will try to perform as members of an orchestra. What is needed when scoring a movie such as GODZILLA VS. MECHAGODZILLA is playing that is much more aggressive. No matter how much you explain the character of Godzilla to the performers and urge them to play aggressively, they still will play as if they are in a concert hall. However, if you show the performers footage of Godzilla, their playing will dramatically change. That is why I insisted on being allowed to show footage to the performers before I agreed to score GODZILLA VS. GHIDRAH.