Issue link: https://digital.copcomm.com/i/1541592
M OT I O N P I CTU R E S O U N D E D I TO R S 51 G o Hasegawa worked with Akihiko for 10 years as his assistant. His credits include: Sound editor– Sabakan Asura Tabi to Hibi (Journeys and Days) Last Scene (YouTube) Foley artist– Oni: Thunder God's Tale Shoplifters Granblue Fantasy: Relink Resident Evil 4: Separate Ways Bayonetta Origins: Cereza and the Lost Demon A Mentor Named Akihiko "What's your shoe size? Same as mine. Looks like we can share shoes." T hat was the very first thing Akihiko said to me when we met. It was a gentle comment, quite unexpected coming from someone with bleached blonde hair and a tough appearance. That contrast left a strong impression on me. I first decided I wanted to work in this field—specifically to become a Foley artist—when I was studying at audio engineering school. I had loved TV and movies since I was a child and wanted to turn that into a career. Although the school I attended covered a wide range of audio fields, including music recording and PA work, there was nothing about Foley. When I spoke with the staff about my career path, I was told that Foley only existed overseas. At the time, Foley work wasn't as well recognised in Japan as it is today, and I believed what I was told without questioning it. I tried interning in stage PA, thinking I might have to switch career paths. But deep down, I still wanted to do Foley for films. I was stubborn. Three years passed without a job, until one day, through a fortunate connection, I met Akihiko. He told me: "You can't make a living in Japan as just a Foley artist. But here, as a sound effects editor, you can touch and mix all the sounds yourself. It's incredibly demanding, but it's fun." Go Hasegawa He then advised me: "In Japan, the typical path is to join a company, gain experience, then go freelance. There's really no other way for someone like you, Hasegawa, entering the industry as a freelancer and learning on the job." Then he asked: "Are you still okay with that? Do you still want to do this? Because work is half hobby, you know." Once I actually started, I realised just how vast and intense the work was. It was a physically and mentally demanding profession. But the reason I've been able to keep going is that I got to see Akihiko, up close, enjoying his work, and realising the sounds he wanted to create for each project. I remember once introducing him by saying, "He's my mentor," and he just replied, "Huh?" Akihiko didn't believe in (L to R): Akihiko Okase and Go Hasegawa in the MMA Gym, Tokyo for The Young Strangers (2023)