Hi Steve. Ive been a Japan fan for 2 years now, I first got into you through Q.L as I love that Moroder style intro on Quiet Life, then realised you did L.I.T with him. I then worked my way backwards to the A.S and O.A albums which I think are massively underrated, then I ventured into solo territory. (Not forgetting RTC) – Currently im getting into yours, the song Sleepyard is amazing, I didn’t realise its mono, its very well disguised, may I ask why you decided to make the song mono? Thanks :)

Thank you sir … but it is (or should be) in stereo – it was when I left it.

Hi Steve. Back in the midsts of time (1983) on Riverside, there were some excerpts shown from video you had taken of Ryuichi Sakamoto at home and you were quoted in a magazine talking about filming a documentary looking at people living and working in Japan. Are these one and the same? Did the film ever get completed? Does it still exist?

They are indeed one and the same and I do still have some footage … an interview I made with Ryuichi at his home, and another with Masami on a beautiful day at the foot of Mount Fuji, and also with Hajime Tachibana on a rocky sea-front, plus one or two other items. I don’t recall what happened to the plan for a documentary as it was a very busy year for me and perhaps the opportunity was lost along the way, or maybe my heart wasn’t in it. Oh, yes … I seem to recall feeling that I failed miserably as an interviewer so that might have had something to do with it. Really not as easy as it looks … or perhaps interviewing work colleagues isn’t the best of dynamics.

Hi Steve, which photographers have inspired you and why? Do you have any of their images on your walls yourself? I’m interested that you have combined photography and poetry/words like Frederick Sommer. Would you agree with him that “if you really understand why you take the photograph, you don’t do it”? Thanks, Emma

Poetry, moi? No way Pedro. Photography … to explore the layers of events occurring, and stopping time to create a ‘study’ of any given moment. I empathise with the sense of Frederick Sommer’s comment but prefer his line: “You do it for the margin of the unstated”.

To record a moment of no significance, it’s the insignificance itself that is inspiring in its ability to become meaningful in a suspended state, and as such prompts a consequence (on a good day).

Hi Steve, On your website I’ve been looking at the wonderful photographs from the set of the Visions of China video. One shows you with David in the background. Do you remember who had your camera? Secondly, I’ve seen this photograph in colour as well and wondered whether it was B&W originally, and then coloured somehow, or was it taken on colour film and treated on Photoshop (or similar) recently to achieve the B&W? Similarly, the Paris ’82 shots with the antique effect? Thanks, Shane

Well the surprising answer is; either Mick or Richard (I know, doesn’t take a genius to work that one out). My guess would be Richard since Mick rarely picked up a camera. They are colour transparencies which were digitally converted to black and white. The Paris shots are black and white with a sepia effect.