by Sawao Yamanaka
featured in FLCL DVD Vol. 2 booklet, kindly typed up by severe paradox (sP)
Have you ever thought, “I want to go back the good old days?” I’ve never thought that. Not even once. I really love the now of life. Even on my worst days, I always feel like, “Well, tomorrow will definitely be better!” I love the “me who grew up.” The truth is, adulthood is freedom. Childhood is not freedom. Childhood was BO-R-ING. When I was Naota’s age, I couldn’t accept the position I was in, being a kid and all. I was always irritated. For some reason, I had to go to school. I didn’t have any money. I couldn’t drink. I didn’t know a thing about sex or love. (Although, I can’t say that those last thee things are important now, but…) Anyway, since I wasn’t in a position to decide for myself or take responsibility for things in life, I was not completely unsatisfied. (Because it was still a little bit after this, during my first year in junior high, that I was finally really exposed to rock music.) During the summer of 6th grade, I hated playing baseball because it was boring. I just wandered aimlessly around the neighborhood water-holes. Oh! By the way, Mamimi and Haruko never appeared!
So the first time I saw FLCL I went something like, “Is this guy (Tsurumaki-san*) okay? Did I get myself involved in something… sketchy!?” *Laugh* There was almost no exposition, and certainly no theory behind it! Basically, it was as aggressive as it could get, and I was like “What is this? Alternative?” Heh heh heh… But, I like that sort of thing. I hate humor that needs explanation. It’s all about whether you feel it or not.
It was Chaplin in “Monsieur Verdoux” who said, “Life has no meaning. All we have is desire.” And he is right. That’s how my life is. Not “Why?” but “What do I want to do?” is my never-ending motto. If there’s one thing FLCL and The Pillows have in common, it’s this theory. But that’s just my own opinion. I’ve watched FLCL over and over again. It’s too bad the first time that I watched FLCL, I couldn’t get into the story because all I cared about was the way my music was being used. “What? There’s a counter in there?! Is that the intro and then the refrain? I don’t recognize that guitar riff.” I was obsessed with myself. (Being a dumbass.) Heh heh heh… I’m sure that that’s what all the other band members thought. By the third or fourth time, I finally calmed down and could really appreciate it. Because I was the one who recorded the sound effects for the time when Haruko comes in with her Rickenbacker** like, gakkiiiiiiin!!!!*** You know what I mean?!
Oh, by the way, how do you like “Ride on Shooting Star”? Myself, I think it’s okay, because it fits FLCL. You either get it or you don’t. I like it that way. For now, Mr. Tsurumaki, thanks for choosing us! It’s an honor. We’re looking forward to next time. Recently, it’s been really fun performing live and recording for The Pillows. So life’s not boring at all, but it would be nice if Haruko or Mamimi… Mamimi? No… it’s gotta be Haruko!! I wonder if Haruko will drop by, brandishing her Rickenbacker or something… Well, at least I can keep dreaming.
* Tsurumaki Kazuya – Director of FLCL
** Rickenbacker – Haruko’s guitar
*** gakkiin – Japanese onomatopoeia
