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Everything just takes a while.
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00:01:01,884 --> 00:01:04,843
Just staying with it in order
to get the richness of it.
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00:01:05,176 --> 00:01:06,467
It's too easy to move on.
6
00:01:13,759 --> 00:01:15,676
Like a sort of big sky...
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...translates into
what you're doing.
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How would that be if
you could see for miles around?
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The horizon's all open.
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A ritual which shifts
your state of mind...
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...to take you somewhere else.
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There's a sense
of sharing something.
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It feels like it can stand
different kind of interventions.
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I really love that.
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I really love it that
it goes out and has a life...
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- Yeah.
- ...beyond us.
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If there's a storm coming...
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They said there was going to be.
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Yeah.
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Music is my sort of vehicle for
travelling through the world,
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sort of getting through life.
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It's like I write music
to do that.
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It's just kind of odd.
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It's kind of an odd thing to do.
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- Hello. How are you?
- Fine. How are you?
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- Lovely to see you.
- You too.
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00:02:41,051 --> 00:02:42,342
How are you?
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00:02:42,509 --> 00:02:45,259
- Weird. Weird and tired.
- Weird and tired!
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00:02:48,509 --> 00:02:51,676
And this piece is obviously
very extreme in some ways.
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It's a gigantic thing.
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To want to do
such difficult things
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is kind of odd as well.
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It's a puzzle to me.
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00:03:06,217 --> 00:03:08,384
- Guys, you're almost there.
- Alright.
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00:03:09,176 --> 00:03:11,634
Right, folks, make sure
your wristbands are on.
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00:03:29,717 --> 00:03:32,384
The moment that I saw
the complete eight-hour album,
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I listened to it, like,
over and over.
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00:03:36,135 --> 00:03:38,217
But then I stopped
listening to it.
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00:03:38,384 --> 00:03:40,884
I wanted the experience
to be new again for me.
40
00:03:43,551 --> 00:03:45,051
After I booked my ticket,
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I made this Instagram post
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where it was like the gorgeous
cover photo of the moon
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00:03:50,135 --> 00:03:53,801
and I was like... So I'm gonna
see this eight-and-a-half hour,
44
00:03:53,968 --> 00:03:57,051
204 movements,
classical composition
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00:03:57,217 --> 00:03:59,176
and I think I made some joke
46
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that I'm just gonna feel
crushingly alone
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and cry the whole time,
48
00:04:02,801 --> 00:04:04,676
so that's what I'm expecting.
49
00:04:08,217 --> 00:04:11,135
I've tried not to have
too many expectations.
50
00:04:11,300 --> 00:04:13,592
Like, I saw the pictures
that he posted last night
51
00:04:13,759 --> 00:04:16,217
and I'm like, "Those cots
are really close together!"
52
00:04:17,467 --> 00:04:19,259
You know, I mean,
you have your own space,
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but, uh, usually
I'm much more of a loner
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as far as not being
so close to others.
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I've never watched
something continuously
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for eight hours,
57
00:04:42,426 --> 00:04:45,717
so just hearing them warming up
has me pretty excited.
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00:04:48,801 --> 00:04:50,676
This is probably
the ideal way
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00:04:50,843 --> 00:04:52,342
you want to experience
something like this,
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00:04:52,509 --> 00:04:54,843
being around someone you care
about or just other people.
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00:04:57,926 --> 00:04:59,968
I don't know how to describe it.
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00:05:00,135 --> 00:05:02,717
It's just kinda like...
It hits your soul.
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00:05:04,217 --> 00:05:07,217
It just makes me feel like
connected to this world.
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00:05:19,801 --> 00:05:21,509
I guess what I was aiming for
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00:05:21,676 --> 00:05:25,509
is this sense of connecting
to origins somehow
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00:05:26,093 --> 00:05:27,384
and fundamentals.
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00:05:28,259 --> 00:05:31,801
It's almost like, "Can we just
start over, please?"
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00:06:01,926 --> 00:06:03,384
Hi, hello.
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00:06:03,551 --> 00:06:06,176
Welcome to this performance
of "Sleep",
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00:06:06,884 --> 00:06:08,801
an eight-hour lullaby.
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00:06:10,176 --> 00:06:14,176
I'm joined this evening
by the ACME Ensemble
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00:06:14,801 --> 00:06:16,300
and Grace Davidson.
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00:06:19,759 --> 00:06:22,801
A few more thank-yous,
first of all to Chris Ekers
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00:06:22,968 --> 00:06:24,884
for his wonderful sound,
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00:06:25,217 --> 00:06:27,551
to Steve Abbott
for joining all the dots
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00:06:28,051 --> 00:06:32,759
and especially to Yulia,
my creative partner,
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00:06:33,801 --> 00:06:36,551
whose vision is
a big part of this piece.
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00:06:38,009 --> 00:06:39,717
There are no rules. Um...
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Listen as you like,
sleep as you like.
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Maybe switch the phones off
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and enjoy the trip.
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00:06:46,968 --> 00:06:48,551
We'll see you on the other side.
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00:12:39,217 --> 00:12:40,717
When we were younger,
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00:12:40,884 --> 00:12:42,884
we had small children
and we had no money,
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00:12:44,051 --> 00:12:46,592
so, of course, when Max
went away to do his concerts,
86
00:12:46,759 --> 00:12:50,300
I could never go
and so I would stay behind.
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00:12:50,467 --> 00:12:51,467
It was really lovely
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00:12:51,634 --> 00:12:53,259
when people started
streaming concerts
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00:12:53,426 --> 00:12:55,093
because suddenly
I could listen in,
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00:12:55,259 --> 00:12:57,884
so I started to,
every time he'd go away,
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00:12:58,051 --> 00:13:00,135
I'd listen in to the concert
and see how, you know...
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00:13:00,300 --> 00:13:02,926
You feel nervous for your
partner, you want it to go well,
93
00:13:03,093 --> 00:13:05,009
you're interested
in how it goes,
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00:13:05,176 --> 00:13:08,051
you want to be there, so it was
my way of experiencing it.
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00:13:09,176 --> 00:13:10,801
Yulia would be listening in.
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00:13:10,968 --> 00:13:13,093
Of course, if I'm
on the other side of the planet,
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00:13:13,259 --> 00:13:15,676
it would be at some crazy hour
in the middle of the night.
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00:13:16,259 --> 00:13:17,426
I'd be exhausted.
99
00:13:17,592 --> 00:13:19,592
You know,
I'd been with the kids all day.
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00:13:19,759 --> 00:13:23,259
I was so tired, so I would
almost always fall asleep.
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00:13:25,176 --> 00:13:27,884
And pretty soon, I realised
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00:13:28,051 --> 00:13:30,801
that there's this incredible
thing that happens
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00:13:30,968 --> 00:13:35,592
when you start just drifting
in and out of this dreamy space.
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00:13:38,300 --> 00:13:39,509
And kind of waking up
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00:13:39,676 --> 00:13:42,093
and liminal spaces
would start to develop
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00:13:42,259 --> 00:13:46,384
and you start to listen
in a totally different way
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00:13:46,551 --> 00:13:49,300
to how you normally listen
to a CD
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00:13:49,467 --> 00:13:51,009
or a disc or even a concert.
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00:13:51,759 --> 00:13:53,926
And it becomes a...
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00:13:54,259 --> 00:13:58,426
It can... It becomes a very
emotional listening experience.
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00:13:59,135 --> 00:14:02,051
So when Max would come back, I'd
start to talk to him about this
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00:14:02,217 --> 00:14:05,467
and I was like, "We have
to do something with this
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00:14:05,634 --> 00:14:07,135
because this is
an incredible thing."
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00:14:07,300 --> 00:14:09,051
He said, "Well, it's funny you
should say that
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00:14:09,217 --> 00:14:12,009
because here's this piece I've
been working on since 1995."
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00:14:12,551 --> 00:14:15,093
And he starts getting out
these pieces of paper,
117
00:14:15,259 --> 00:14:16,968
showing me these pieces
of paper and saying,
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00:14:17,135 --> 00:14:20,009
"I've been thinking about this
myself in a different form."
119
00:14:24,009 --> 00:14:26,342
We sort of got into
this conversation about
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00:14:26,509 --> 00:14:28,467
would it be interesting
to make a piece
121
00:14:28,634 --> 00:14:32,135
which is in some way made
122
00:14:32,300 --> 00:14:34,009
to exist in that space
123
00:14:34,176 --> 00:14:36,217
or to kind of have
that sort of conversation
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00:14:36,384 --> 00:14:38,843
with, you know,
the sleeping mind?
125
00:14:39,009 --> 00:14:41,676
You know, the sleeping mind is
as valid and valuable
126
00:14:41,843 --> 00:14:44,051
and, in fact,
essential to us actually
127
00:14:44,217 --> 00:14:46,384
in terms of building
our waking life.
128
00:14:47,009 --> 00:14:49,300
When we're sleeping,
we're not absent.
129
00:14:49,759 --> 00:14:53,384
We're just... It's a different
kind of cognitive state.
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00:14:56,759 --> 00:14:59,926
And so we brought
these two ideas together really
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00:15:00,093 --> 00:15:02,717
and started to develop this idea
132
00:15:02,884 --> 00:15:04,968
for the piece as it is now.
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00:15:50,093 --> 00:15:53,384
Life is busy
and life is getting busier.
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00:15:53,551 --> 00:15:54,968
I've never heard anyone say,
135
00:15:55,135 --> 00:15:57,342
"Oh, things are just getting
so much slower."
136
00:15:58,676 --> 00:16:00,509
Everything is always up.
137
00:16:00,676 --> 00:16:01,968
It's moving forward.
138
00:16:02,717 --> 00:16:04,676
That's how life works.
139
00:16:04,843 --> 00:16:06,509
Things just speed up.
140
00:16:08,926 --> 00:16:12,051
That, in a way,
suits corporations.
141
00:16:12,759 --> 00:16:15,384
But does it suit individuals
as well?
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00:16:18,759 --> 00:16:19,759
I don't know.
143
00:16:22,342 --> 00:16:24,426
So I wanted to make a piece
which...
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00:16:24,592 --> 00:16:27,884
It's got an element of a sort
of quiet protest about it.
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00:16:28,926 --> 00:16:31,217
Just to kind of take a look
at this.
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00:16:32,051 --> 00:16:34,009
And offer a landscape
147
00:16:34,551 --> 00:16:37,051
to withdraw from that
for a minute,
148
00:16:37,467 --> 00:16:40,509
step off the wheel
and take stock.
149
00:16:52,509 --> 00:16:53,926
It was a very big thing
150
00:16:54,300 --> 00:16:57,009
to bring this into the world
and to get it actually made.
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00:16:58,051 --> 00:17:00,217
That was a two,
two-and-a-half-year process,
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00:17:00,384 --> 00:17:02,342
something like that,
and during that period
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00:17:02,509 --> 00:17:04,801
when Max was composing,
I was starting to look around
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00:17:04,968 --> 00:17:06,843
for the kind of venues
we could go to,
155
00:17:07,009 --> 00:17:09,968
what kind of ways we could talk
about this project to people.
156
00:17:13,217 --> 00:17:15,217
I always think Yulia's
the brains of the outfit.
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00:17:16,342 --> 00:17:19,384
She comes from anthropology
and film,
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00:17:19,551 --> 00:17:22,968
so her universe is visual,
performance,
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00:17:23,135 --> 00:17:24,968
storytelling
from that standpoint.
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00:17:26,259 --> 00:17:28,009
I was developing
this language
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00:17:28,176 --> 00:17:30,634
of talking about issues that
were really important to me.
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00:17:30,801 --> 00:17:32,051
My family were refugees
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00:17:32,592 --> 00:17:36,634
and I wanted to really explore
that from every possible angle.
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00:17:42,426 --> 00:17:44,509
One of the things that was
really important to me
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00:17:44,676 --> 00:17:48,135
was that this piece
should be about community
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00:17:48,300 --> 00:17:49,801
and should be about connection.
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00:17:50,801 --> 00:17:52,801
Or at least providing a space
for it.
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00:17:55,759 --> 00:17:57,676
Whether it happens or not,
I mean,
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00:17:57,843 --> 00:17:59,759
that's down
to an individual person.
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00:18:00,176 --> 00:18:01,467
It doesn't have to happen
either,
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00:18:01,634 --> 00:18:03,051
but we're missing that,
aren't we?
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00:18:06,759 --> 00:18:08,884
That was one of the very first
conversations we had.
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00:18:09,051 --> 00:18:10,801
We have this eight-hour piece.
Where does it go?
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00:18:10,968 --> 00:18:12,509
How do we stage it?
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00:18:13,135 --> 00:18:14,884
What happens with this piece
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00:18:15,051 --> 00:18:16,801
in order to foster
that kind of environment
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00:18:16,968 --> 00:18:18,634
where something like that
can happen?
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00:18:25,968 --> 00:18:28,051
Max and Yulia showed me drawings
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00:18:28,426 --> 00:18:32,801
of this concept of musicians
surrounded by sleeping people.
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00:18:34,884 --> 00:18:36,467
I went with a friend
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00:18:36,634 --> 00:18:40,843
and all those strangers
sleeping together,
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00:18:41,300 --> 00:18:43,592
open postures,
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00:18:44,093 --> 00:18:47,093
somehow takes you away
from the individual details
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00:18:47,259 --> 00:18:48,342
of your own life.
185
00:18:50,467 --> 00:18:53,259
A couple of friends said,
"This is very disturbing."
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00:18:53,426 --> 00:18:56,676
Some people couldn't imagine
being in a place like that.
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00:18:57,384 --> 00:19:00,009
But the people
I could connect to understood,
188
00:19:00,176 --> 00:19:02,384
there's something
about hearing it
189
00:19:02,551 --> 00:19:04,843
and not necessarily watching
the performance.
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00:19:06,009 --> 00:19:10,509
There's some deep memory of
being a child and being sung to
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00:19:10,676 --> 00:19:12,259
when you're drifting off.
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00:19:15,384 --> 00:19:18,009
So it's such a tender offering.
193
00:19:32,843 --> 00:19:35,926
As a cathedral, we wanted
to have a kind of connection
194
00:19:36,093 --> 00:19:39,051
with these problems
with refugees
195
00:19:39,217 --> 00:19:41,759
and, um...
and to make a connection
196
00:19:41,926 --> 00:19:43,759
with an artwork, with music.
197
00:19:46,300 --> 00:19:48,634
It was
this sculpture by Koen Theys,
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00:19:48,801 --> 00:19:52,342
with 12 bronze mattresses
where people slept,
199
00:19:52,509 --> 00:19:56,176
which helped us to have
this crazy idea
200
00:19:56,342 --> 00:19:58,384
of having "Sleep"
in our cathedral.
201
00:19:58,884 --> 00:20:02,093
And now we have
400 of these beds.
202
00:20:07,384 --> 00:20:10,801
It was a very big unknown
for all of us
203
00:20:10,968 --> 00:20:13,093
who worked to prepare for it.
204
00:20:13,509 --> 00:20:15,968
At the same time,
there was this vibe
205
00:20:16,135 --> 00:20:19,300
of "this is something
very special",
206
00:20:19,551 --> 00:20:22,342
which has never happened
and probably never will again.
207
00:20:25,968 --> 00:20:29,051
I think we've had
something like 250 enquiries
208
00:20:29,509 --> 00:20:30,551
for the show
209
00:20:30,717 --> 00:20:31,968
and I think it's about 18
210
00:20:32,135 --> 00:20:34,592
that actually
we've been able to put on.
211
00:20:37,176 --> 00:20:40,135
Each show takes more or less
two years to pull off
212
00:20:40,592 --> 00:20:43,384
from the first conversations
to when they finally go on.
213
00:20:45,051 --> 00:20:47,509
For every venue, it's
a real labour of love as well.
214
00:20:47,676 --> 00:20:49,717
Yeah, so it's a big juggernaut
of a thing,
215
00:20:49,884 --> 00:20:51,051
but it's so worth it.
216
00:20:54,926 --> 00:20:56,676
Welcome to Max Richter's
"Sleep"
217
00:20:57,843 --> 00:21:00,551
at Grand Park,
presented by the Music Center.
218
00:21:01,426 --> 00:21:03,551
Tonight's performance
is the first outdoor
219
00:21:03,717 --> 00:21:05,259
and the largest ever.
220
00:21:05,634 --> 00:21:09,093
We are hopefully unplugging
from our everyday life
221
00:21:09,259 --> 00:21:12,467
to experience
this beautiful concert together
222
00:21:12,634 --> 00:21:15,217
right in the heart
of downtown LA.
223
00:21:17,968 --> 00:21:20,884
Max basically says,
"You can walk around,
224
00:21:21,051 --> 00:21:22,801
you can sit up,
you can lie down,
225
00:21:22,968 --> 00:21:24,676
you can disconnect,
you can sleep."
226
00:21:26,009 --> 00:21:30,467
And I think that freedom sort of
that Max wrote into the piece
227
00:21:30,634 --> 00:21:32,717
and into the presentation
of the piece,
228
00:21:32,884 --> 00:21:36,426
I thought it would get augmented
by putting it outdoors
229
00:21:36,592 --> 00:21:38,676
and sort of giving it
that additional freedom.
230
00:21:57,884 --> 00:22:01,135
He was never interested
in talking to an audience
231
00:22:01,300 --> 00:22:04,926
of 100 people
who know about classical music,
232
00:22:05,093 --> 00:22:09,342
so he engaged in a language
which is a plain-spoken language
233
00:22:10,467 --> 00:22:12,968
because he wants to connect
to a lot of people
234
00:22:13,135 --> 00:22:16,342
and that's immediately
frowned on
235
00:22:16,509 --> 00:22:18,551
within a lot
of classical communities.
236
00:22:19,634 --> 00:22:21,717
If you're popular,
that can't be good.
237
00:22:22,759 --> 00:22:24,884
And obviously we weren't
paying attention to any of that
238
00:22:25,051 --> 00:22:27,051
because we're not interested
in that conversation at all.
239
00:22:27,217 --> 00:22:29,426
Our conversation is about
talking to a lot of people
240
00:22:29,592 --> 00:22:32,551
and talking about a different
way of listening to music.
241
00:22:37,051 --> 00:22:38,843
There are precedent pieces.
242
00:22:39,009 --> 00:22:41,884
In Indian classical music
you have overnight ragas
243
00:22:42,051 --> 00:22:45,342
and there's gallery work
from the '60s of Fluxus
244
00:22:45,509 --> 00:22:47,926
and the Bach Goldberg Variations
245
00:22:48,093 --> 00:22:50,968
which were supposedly written
for overnight performance.
246
00:22:52,509 --> 00:22:54,426
It's not like sonic wallpaper
247
00:22:54,592 --> 00:22:56,426
which is just quietly bubbling
in the background.
248
00:22:57,176 --> 00:23:00,342
It's an artwork
and it's to be experienced,
249
00:23:00,509 --> 00:23:02,968
not necessarily
to be listened to,
250
00:23:03,135 --> 00:23:04,467
but to be experienced
251
00:23:04,634 --> 00:23:07,176
in the way that we experience
a landscape, we're in it.
252
00:23:24,467 --> 00:23:27,551
People are free to do
what they want in the show.
253
00:23:28,634 --> 00:23:30,384
We didn't want too many rules
254
00:23:30,551 --> 00:23:33,259
and that's reflected in all the
concerts. They're all different.
255
00:23:33,426 --> 00:23:36,717
In Berlin, everyone shoved
their beds together
256
00:23:36,884 --> 00:23:39,676
and you had families
all sleeping side by side.
257
00:23:40,592 --> 00:23:44,259
It offers something where people
can feel cocooned, safe somehow.
258
00:23:47,968 --> 00:23:50,551
It's not a performance
in the traditional sense.
259
00:23:50,968 --> 00:23:52,467
If you play a gig,
260
00:23:52,634 --> 00:23:55,135
you're projecting this material
really strongly,
261
00:23:55,300 --> 00:23:56,759
you're trying to tell a story...
262
00:24:00,176 --> 00:24:03,259
...whereas in the case
of a "Sleep" performance,
263
00:24:03,426 --> 00:24:05,259
the dynamics are
completely different.
264
00:24:06,051 --> 00:24:08,759
Those people sleeping
are the story.
265
00:24:13,342 --> 00:24:16,926
10:28.
To sleep, perchance to dream.
266
00:24:18,009 --> 00:24:20,259
Sombre. Life noises.
267
00:24:20,426 --> 00:24:24,217
The wild sirens,
chattering of people checking in
268
00:24:24,384 --> 00:24:25,884
melts with the music,
269
00:24:26,259 --> 00:24:28,634
creates a tone
like in the movies
270
00:24:28,801 --> 00:24:30,759
after something serious
has happened.
271
00:24:43,884 --> 00:24:45,467
I heard about the concert
272
00:24:45,634 --> 00:24:48,093
and I was like, "I don't think
my wife would want to go.
273
00:24:48,259 --> 00:24:50,259
It sounds too weird."
Then I told her about it.
274
00:24:50,426 --> 00:24:54,009
She's like, "It's sleep and
it's music? What's not to like?"
275
00:24:54,176 --> 00:24:56,426
I was surprised
she waited as long as she did
276
00:24:56,592 --> 00:24:57,717
to say something about it.
277
00:24:57,884 --> 00:24:59,759
I guess she had known about it
for a while.
278
00:25:06,176 --> 00:25:07,634
I was really happy
to see her asleep.
279
00:25:07,801 --> 00:25:09,384
Yeah, I was a little worried
280
00:25:09,551 --> 00:25:11,676
that because we were
out in the open
281
00:25:11,884 --> 00:25:13,509
among all these strangers
that...
282
00:25:13,676 --> 00:25:15,551
- And the bugs.
- And the bugs.
283
00:25:16,217 --> 00:25:18,551
...she was gonna end up being
not happy,
284
00:25:18,717 --> 00:25:20,759
but apparently,
her body was like,
285
00:25:20,926 --> 00:25:22,926
"No, I can go to sleep now."
286
00:25:23,093 --> 00:25:24,176
Like, I zonked out,
287
00:25:24,342 --> 00:25:28,467
like, pretty much 15, 20 minutes
into the concert, I was out.
288
00:25:28,634 --> 00:25:30,342
Legit, like, all night.
289
00:25:30,509 --> 00:25:32,217
- Yeah.
- Which is surprising.
290
00:25:34,968 --> 00:25:38,051
Being a woman
in our relationship,
291
00:25:38,217 --> 00:25:41,759
you are kind of on guard,
always watching your back,
292
00:25:41,926 --> 00:25:44,384
you don't know who's looking
at you, what they're thinking,
293
00:25:44,551 --> 00:25:48,093
what they're thinking of you
and how you're making them feel.
294
00:25:49,176 --> 00:25:52,551
I feel like I always...
always feel, like, unsafe.
295
00:25:59,426 --> 00:26:01,342
You obviously have
something in common
296
00:26:01,509 --> 00:26:04,759
'cause you've all come together
around this event.
297
00:26:06,467 --> 00:26:08,217
It's just fascinating.
You see people.
298
00:26:08,384 --> 00:26:11,342
You're like, "I wonder would we
be hanging out together?
299
00:26:11,509 --> 00:26:13,217
Would we be buddies
if I went over
300
00:26:13,384 --> 00:26:15,759
and struck up a conversation
with you right now?"
301
00:26:16,676 --> 00:26:19,676
Like, yeah, you did feel
kind of safe and protected.
302
00:26:48,759 --> 00:26:50,426
The first one was memorable
303
00:26:50,592 --> 00:26:53,093
in that it was
just so terrifying
304
00:26:53,259 --> 00:26:56,093
because we just did not know
how to play this piece.
305
00:26:56,759 --> 00:26:58,592
How do you rehearse
something that size?
306
00:27:00,009 --> 00:27:02,509
The gallery is full
of these amazing curios
307
00:27:02,676 --> 00:27:04,176
of 19th century science.
308
00:27:05,509 --> 00:27:08,176
It seemed in a way
an appropriate place to do it
309
00:27:08,342 --> 00:27:11,426
because "Sleep" has
some of its origins
310
00:27:11,592 --> 00:27:13,801
in, I guess, sleep science.
311
00:27:17,051 --> 00:27:20,551
We rehearsed it overnight
and then we had the next day,
312
00:27:21,135 --> 00:27:24,342
and I was up fixing the parts,
all the mistakes I discovered,
313
00:27:24,509 --> 00:27:26,051
all the technical stuff.
314
00:27:27,843 --> 00:27:29,968
And then we played overnight
live on Radio 3.
315
00:27:31,259 --> 00:27:32,801
They broadcast it
all night long,
316
00:27:33,968 --> 00:27:35,968
so it was kind of
a baptism of fire.
317
00:27:38,634 --> 00:27:41,051
I was very lucky to be invited
318
00:27:41,217 --> 00:27:43,384
to be one of the people
to fall to sleep
319
00:27:43,551 --> 00:27:45,801
to his music
at the Wellcome Foundation.
320
00:27:48,009 --> 00:27:49,968
I think it broke a world record
321
00:27:50,135 --> 00:27:52,509
for the longest continuous
piece on the radio.
322
00:27:54,384 --> 00:27:56,467
Once the piece kicked off
it was clear
323
00:27:56,634 --> 00:27:58,676
that there was something wrong
with the piano
324
00:27:58,843 --> 00:27:59,926
that Max was playing at,
325
00:28:00,093 --> 00:28:03,384
that there was some really
tinny sound coming out of that.
326
00:28:04,384 --> 00:28:06,926
And then one of the crew
crept up,
327
00:28:07,093 --> 00:28:09,801
climbed on top
of this grand piano
328
00:28:09,968 --> 00:28:11,968
and started trying
to investigate what...
329
00:28:12,135 --> 00:28:13,551
But the piece had
to keep on going.
330
00:28:13,717 --> 00:28:14,843
This was a live broadcast
331
00:28:15,009 --> 00:28:17,176
of this piece that was gonna
go on for eight hours
332
00:28:17,342 --> 00:28:19,843
and there was no way we were
stopping and starting again.
333
00:28:23,759 --> 00:28:26,676
We got through it and
it had a real kind of energy,
334
00:28:26,843 --> 00:28:29,384
it had a real sort of
gravitational force around it.
335
00:28:31,009 --> 00:28:33,176
It just seemed
to kind of affect people,
336
00:28:33,342 --> 00:28:35,259
so that was exciting.
337
00:28:38,801 --> 00:28:42,009
My work comes
out of the polarity
338
00:28:42,176 --> 00:28:44,634
between a very straightforward,
classical,
339
00:28:44,801 --> 00:28:48,426
conservatoire, university,
composer education.
340
00:28:49,300 --> 00:28:53,135
And my enthusiasm
for electronic music,
341
00:28:53,300 --> 00:28:55,592
ambient music,
the studio as instrument.
342
00:29:06,009 --> 00:29:10,801
It has its roots
in the kind of Renaissance
343
00:29:10,968 --> 00:29:14,009
where music was structured
very geometrically.
344
00:29:17,300 --> 00:29:21,676
It's also a rejection
of super-complicated modernism
345
00:29:22,176 --> 00:29:23,426
which I was schooled in,
346
00:29:24,051 --> 00:29:26,676
but which I felt
had really lost its connection
347
00:29:26,843 --> 00:29:28,093
with a broader audience.
348
00:29:29,759 --> 00:29:31,759
I felt like I wanted
to build a language
349
00:29:31,926 --> 00:29:33,717
which had a kind of directness.
350
00:29:39,259 --> 00:29:40,759
When Max and I first met,
351
00:29:40,926 --> 00:29:43,592
I was giving a talk
about maths and symmetry.
352
00:29:44,217 --> 00:29:46,300
I think there was
an immediate connection.
353
00:29:47,342 --> 00:29:49,093
There's always been
an immediate connection
354
00:29:49,259 --> 00:29:50,384
between maths and music.
355
00:29:52,300 --> 00:29:53,300
Like every piece,
356
00:29:53,467 --> 00:29:56,093
it's a big series
of "what if" questions.
357
00:29:57,426 --> 00:30:00,300
I started thinking
about what kind of music
358
00:30:01,217 --> 00:30:03,676
would I want if I was sleeping?
359
00:30:04,176 --> 00:30:06,717
And I started thinking
I would like to feel
360
00:30:07,176 --> 00:30:10,259
that if I wake up in the middle,
I want to know where I am.
361
00:30:12,467 --> 00:30:16,176
Mathematics is
actually the science of patterns
362
00:30:16,342 --> 00:30:18,551
and music is
the art of patterns.
363
00:30:18,717 --> 00:30:20,259
And that's the connection.
364
00:30:21,259 --> 00:30:24,176
So you take something simple
like the Fibonacci numbers.
365
00:30:24,676 --> 00:30:26,592
So these are numbers which go:
366
00:30:26,759 --> 00:30:28,551
1, 1, 2, 3,
367
00:30:28,717 --> 00:30:31,093
5, 8, 13.
368
00:30:31,759 --> 00:30:32,843
You get the next number
369
00:30:33,009 --> 00:30:34,968
by adding the two
previous numbers together.
370
00:30:36,884 --> 00:30:40,342
These have a natural growth
which is what nature uses a lot,
371
00:30:40,509 --> 00:30:42,426
so the number of petals
on a flower
372
00:30:42,926 --> 00:30:44,884
is invariably
a Fibonacci number,
373
00:30:45,051 --> 00:30:48,592
the way that shells grow
or pine cones or pineapples...
374
00:30:49,342 --> 00:30:51,676
You'll see these numbers
all over the place.
375
00:30:52,926 --> 00:30:55,676
But these are also numbers
that composers love using,
376
00:30:55,843 --> 00:31:00,300
so you see Debussy, Bartók
very deliberately using them
377
00:31:00,467 --> 00:31:03,759
to give a sense of growth
in their pieces.
378
00:31:06,801 --> 00:31:10,509
One of the things
that connects the world of art
379
00:31:10,676 --> 00:31:12,634
and the world of mathematics
and science as well
380
00:31:12,801 --> 00:31:16,217
is that all of these
are actually our response
381
00:31:16,384 --> 00:31:18,009
to the natural world around us.
382
00:31:19,135 --> 00:31:22,676
They're our language trying
to help us navigate our way
383
00:31:22,843 --> 00:31:24,926
through the kind of chaos
that we live in.
384
00:31:29,009 --> 00:31:31,884
I felt like slightly in
freefall when I was writing it.
385
00:31:32,051 --> 00:31:34,968
I was like, "I don't really know
if this is gonna work."
386
00:31:36,176 --> 00:31:38,592
When you're composing,
the notes you're writing,
387
00:31:38,759 --> 00:31:40,801
you're very much writing them
in relation to everything
388
00:31:40,968 --> 00:31:43,176
that's happened already and
everything that's gonna happen.
389
00:31:48,634 --> 00:31:50,300
When there's a structure
that big,
390
00:31:50,801 --> 00:31:53,342
you can't hold it all
in your mind any more,
391
00:31:53,509 --> 00:31:55,467
so you really have
to just write the moment,
392
00:31:56,135 --> 00:31:57,135
which is freaky
393
00:31:57,300 --> 00:31:59,592
and goes against all
your compositional training.
394
00:32:01,926 --> 00:32:05,342
When you're recording
sections of 30 or 40 minutes,
395
00:32:06,300 --> 00:32:10,009
you can't do that on tape and
it's eight hours of multi-track.
396
00:32:12,467 --> 00:32:15,135
So it broke the machine
in all sorts of different ways
397
00:32:15,300 --> 00:32:17,759
and we had to invent
new ways of working.
398
00:32:18,968 --> 00:32:22,093
For me, that is also
the exciting thing
399
00:32:22,259 --> 00:32:23,259
about creative work.
400
00:32:23,426 --> 00:32:26,843
You've got this space
that you know how to do that.
401
00:32:27,009 --> 00:32:29,384
I know how to write
Max Richter music
402
00:32:30,176 --> 00:32:31,426
up to this point.
403
00:32:34,093 --> 00:32:36,843
But actually "Sleep" is stepping
out of that pool of light
404
00:32:37,009 --> 00:32:39,467
into something else,
into the dark
405
00:32:39,634 --> 00:32:41,509
and just finding
what's out there.
406
00:34:07,384 --> 00:34:08,676
I always describe it
407
00:34:08,843 --> 00:34:11,551
as if all the happiness
had left the world,
408
00:34:11,717 --> 00:34:13,135
but I was good with it,
409
00:34:13,300 --> 00:34:15,467
as if there was nothing else
to lose.
410
00:34:20,843 --> 00:34:22,801
Especially if I'm full
of anguish,
411
00:34:23,467 --> 00:34:24,634
if I need to relax
412
00:34:24,801 --> 00:34:26,676
or I need to stop worrying
413
00:34:26,843 --> 00:34:28,843
about what's gonna happen
in the future.
414
00:35:00,009 --> 00:35:01,384
Max's music...
415
00:35:02,551 --> 00:35:07,093
cleans your soul
if you want to say it that way.
416
00:35:13,926 --> 00:35:17,342
It is as if
he had found something
417
00:35:17,509 --> 00:35:20,384
that has already existed for,
I don't know,
418
00:35:20,551 --> 00:35:22,135
thousands of years,
419
00:35:22,634 --> 00:35:24,592
that is familiar to humans
420
00:35:24,759 --> 00:35:26,968
like the sound of the sea
421
00:35:27,135 --> 00:35:30,426
or the grass with the wind.
422
00:35:30,592 --> 00:35:34,135
It is something
that makes us soothe and relax
423
00:35:34,300 --> 00:35:38,135
and, and...and makes you feel
that everything is OK.
424
00:35:43,634 --> 00:35:46,217
As if all humans spoke
the same language
425
00:35:46,384 --> 00:35:49,717
and that we have to translate it
to English or Spanish
426
00:35:49,884 --> 00:35:51,384
or whatever language you speak.
427
00:35:56,217 --> 00:35:58,009
Everybody can understand it
428
00:35:58,176 --> 00:36:02,051
and you don't need to be
a special kind of person
429
00:36:02,217 --> 00:36:05,926
to know what he wants to say and
then the feelings are immediate.
430
00:36:11,551 --> 00:36:15,717
It was not new. It was as if
I had been there all my life.
431
00:36:17,801 --> 00:36:20,009
It was just like a continuation
432
00:36:20,176 --> 00:36:23,259
of something
that you already know very well.
433
00:36:25,426 --> 00:36:27,634
Like kissing your mother
434
00:36:27,801 --> 00:36:31,634
or being with someone
you love very much.
435
00:37:14,176 --> 00:37:16,467
I talked to a friend
of mine, David Eagleman,
436
00:37:16,634 --> 00:37:17,801
he's a neuroscientist,
437
00:37:17,968 --> 00:37:21,135
just to check that my instincts
about sleep music
438
00:37:21,300 --> 00:37:22,717
were not actually stupid.
439
00:37:25,051 --> 00:37:27,217
He pointed me at some research
440
00:37:27,384 --> 00:37:30,009
about how sound and
a sleeping mind can join up.
441
00:37:34,592 --> 00:37:35,926
To my knowledge,
442
00:37:36,093 --> 00:37:37,884
it's the first time
that somebody has said,
443
00:37:38,051 --> 00:37:40,009
"All right, we're gonna write
eight hours of music
444
00:37:40,176 --> 00:37:42,426
and we're gonna try to do things
445
00:37:42,592 --> 00:37:45,009
to keep people
in a state of sleep."
446
00:37:46,509 --> 00:37:48,551
So one of the first things
that Max and I talked about
447
00:37:48,717 --> 00:37:54,009
was about repetition of music
during sleep and how...
448
00:37:54,217 --> 00:37:55,843
Essentially what happens
in the brain
449
00:37:56,009 --> 00:37:59,009
is you've got lots of cells,
86 billion neurons,
450
00:37:59,176 --> 00:38:01,051
and they're all doing
their own thing,
451
00:38:01,217 --> 00:38:03,634
but when you fall asleep,
they come into concert more
452
00:38:03,801 --> 00:38:05,717
and move as a group
453
00:38:05,884 --> 00:38:08,592
which is why if you put
electrodes on the head,
454
00:38:08,759 --> 00:38:10,426
you can measure the slow wave
455
00:38:10,592 --> 00:38:12,384
happening in the brain
during sleep.
456
00:38:12,551 --> 00:38:14,676
So we talked
about the kind of rhythms
457
00:38:15,259 --> 00:38:17,509
that would be appropriate
for that sort of thing,
458
00:38:17,676 --> 00:38:19,384
about the kind of repetition
459
00:38:19,551 --> 00:38:21,968
that sleep represents,
the sleeping brain.
460
00:38:24,926 --> 00:38:28,259
So Max set out to make sure
that the music he was writing
461
00:38:28,426 --> 00:38:31,634
was sort of, you know,
rhythmically consonant
462
00:38:31,801 --> 00:38:33,426
with slow-wave sleep.
463
00:38:43,342 --> 00:38:45,217
Sleep has
a very particular flavour.
464
00:38:45,384 --> 00:38:47,384
It's a very particular colour,
right,
465
00:38:47,551 --> 00:38:49,259
because it's all
about the bottom
466
00:38:49,426 --> 00:38:51,551
of the frequency spectrum.
467
00:38:52,051 --> 00:38:56,759
And almost all of sleep happens
from, like, 100 hertz down
468
00:38:56,926 --> 00:39:00,926
which is a space
which isn't really available
469
00:39:01,093 --> 00:39:02,676
with acoustic instruments.
470
00:39:06,676 --> 00:39:07,843
In the natural world,
471
00:39:08,009 --> 00:39:10,217
we hear those frequencies
in thunderstorms.
472
00:39:10,592 --> 00:39:11,801
And those sorts of things.
473
00:39:12,634 --> 00:39:15,509
And that's in a way
why they have a magical quality
474
00:39:16,009 --> 00:39:18,384
because we can't actually
really make those sounds
475
00:39:18,551 --> 00:39:20,384
with acoustic instruments
very easily,
476
00:39:20,551 --> 00:39:22,300
or we can but only very quiet.
477
00:39:24,759 --> 00:39:27,217
And for a piece to be structured
478
00:39:27,384 --> 00:39:30,300
around that bit
of the frequency spectrum
479
00:39:30,926 --> 00:39:33,009
is interesting to do
480
00:39:33,176 --> 00:39:35,342
which is why the synthesisers
are so incredible
481
00:39:35,509 --> 00:39:37,759
because they unlock
that bit of the spectrum.
482
00:39:49,300 --> 00:39:54,717
I was about 13 when I first
heard electronic music, really.
483
00:39:59,634 --> 00:40:03,801
On a TV show they used
Kraftwerk's "Autobahn"
484
00:40:04,342 --> 00:40:06,259
and when I heard the opening,
485
00:40:07,009 --> 00:40:10,051
I mean, it was like being struck
by lightning for me.
486
00:40:20,135 --> 00:40:23,259
You feel like you're interacting
with a thing which has a life
487
00:40:23,426 --> 00:40:24,968
because the sound
is never the same.
488
00:40:25,342 --> 00:40:26,634
You know, the next day,
489
00:40:26,801 --> 00:40:28,926
even the same patch sounds
different. Very organic.
490
00:40:36,259 --> 00:40:37,884
I set out on this mission
491
00:40:38,051 --> 00:40:39,968
to try and discover,
A, what this sound was
492
00:40:40,135 --> 00:40:41,717
and B,
how could I get my hands on it?
493
00:40:44,467 --> 00:40:48,176
And at that time, a synthesiser
cost as much as a house.
494
00:40:49,384 --> 00:40:51,509
I got schematics
495
00:40:51,926 --> 00:40:55,342
and a soldering iron
and bags of components
496
00:40:55,509 --> 00:40:58,884
and just started in my bedroom
building synthesisers
497
00:40:59,051 --> 00:41:01,467
and, you know, just tried
to make those sounds.
498
00:41:03,968 --> 00:41:07,968
And that went sort of together
with studying academic music.
499
00:41:08,509 --> 00:41:10,509
I always felt that was
quite natural, really,
500
00:41:10,676 --> 00:41:11,843
those two things.
501
00:41:16,259 --> 00:41:20,176
The way the music is made is
quite uncharacteristic for me.
502
00:41:22,968 --> 00:41:26,968
It has a lot of affirmation
in the way it's structured.
503
00:41:29,384 --> 00:41:30,801
It's sort of asking a question
504
00:41:30,968 --> 00:41:33,176
and then giving you the answer
that you want.
505
00:41:34,676 --> 00:41:37,467
It feels good as it goes by
because of that.
506
00:41:38,217 --> 00:41:40,509
So you kind of know
where you're going all the time
507
00:41:40,676 --> 00:41:42,426
and then it goes there
508
00:41:42,968 --> 00:41:45,843
which is like, you know,
not what happens in real life.
509
00:41:47,217 --> 00:41:51,926
So it's a wish fulfilment for
"if only life were like this".
510
00:42:27,926 --> 00:42:29,217
Look at that, Max.
511
00:42:29,676 --> 00:42:31,093
It's really beautiful.
512
00:42:31,259 --> 00:42:32,843
It's pretty awesome, yeah.
513
00:42:34,384 --> 00:42:36,217
The thing I find
that's so incredible
514
00:42:36,384 --> 00:42:39,135
is when you're sitting
in your office or studio
515
00:42:39,300 --> 00:42:41,467
and you're trying
to conjure up this whole world,
516
00:42:42,051 --> 00:42:43,801
and then you come out here
517
00:42:44,426 --> 00:42:46,801
and it just kind of pours
out of you, doesn't it?
518
00:42:46,968 --> 00:42:48,426
We met for the first time twice.
519
00:42:52,551 --> 00:42:53,968
It was the Edinburgh Festival
520
00:42:54,717 --> 00:42:59,009
and there was a performance
of the Mahabharata,
521
00:42:59,509 --> 00:43:00,843
you know, this wonderful epic.
522
00:43:01,884 --> 00:43:04,009
So there's like
about 100 people on the stage
523
00:43:04,176 --> 00:43:06,259
and about 11 of us
in the audience.
524
00:43:06,676 --> 00:43:08,342
I'm sitting there in this thing
525
00:43:08,509 --> 00:43:12,592
and I keep kind of looking
at this woman on the stage.
526
00:43:12,759 --> 00:43:15,509
And I'm just like,
"Wow, she looks amazing!
527
00:43:16,051 --> 00:43:17,843
I'd really love
to get to know her."
528
00:43:18,051 --> 00:43:19,592
And then I walked
out of the theatre
529
00:43:19,759 --> 00:43:21,551
and I was like, "You're never
gonna see her again,
530
00:43:21,717 --> 00:43:24,135
just get over it, forget about
it, get on with your life."
531
00:43:24,843 --> 00:43:27,176
And I love that phase so much
532
00:43:27,342 --> 00:43:29,217
when everything
is possible still,
533
00:43:29,384 --> 00:43:32,009
when there's nothing in the way
and everything's just...
534
00:43:32,176 --> 00:43:35,884
Then we met again at a theatre
535
00:43:36,051 --> 00:43:38,843
that I was involved with
and Yulia was involved with.
536
00:43:39,426 --> 00:43:41,426
I was working in
a theatre company for a while.
537
00:43:41,592 --> 00:43:44,217
That's where I met Max because
I gave him his first job.
538
00:43:45,135 --> 00:43:47,759
Like a sort of energy
exchange...
539
00:43:47,926 --> 00:43:49,509
So we were just chatting away
540
00:43:49,676 --> 00:43:52,051
in the back of the theatre
basically
541
00:43:52,217 --> 00:43:53,843
while we were supposed
to be working.
542
00:43:54,801 --> 00:43:56,551
That kind of unmade works
543
00:43:56,717 --> 00:43:58,426
and works without any mistakes
in them.
544
00:43:58,592 --> 00:43:59,592
Yeah.
545
00:44:00,968 --> 00:44:02,551
- And that's...
- So exciting.
546
00:44:02,801 --> 00:44:05,759
When we first met,
that was what drew us together,
547
00:44:05,926 --> 00:44:07,259
I think, was talking.
548
00:44:08,300 --> 00:44:09,592
Yeah, we were just like...
549
00:44:10,217 --> 00:44:12,884
We just talked about life,
the universe and everything.
550
00:44:14,509 --> 00:44:15,592
And that was that.
551
00:44:19,968 --> 00:44:23,176
I just thought I'd just met
the most interesting
552
00:44:23,342 --> 00:44:26,384
and kind of kindest
and most thoughtful person.
553
00:44:28,009 --> 00:44:29,551
Like, I still think that.
554
00:44:35,051 --> 00:44:36,801
It's tough to make enough money
555
00:44:36,968 --> 00:44:38,300
to feed three kids as an artist,
556
00:44:38,467 --> 00:44:42,300
but it's also been an incredibly
interesting journey.
557
00:44:44,926 --> 00:44:48,176
We both had quite complicated
childhoods in different ways.
558
00:44:49,342 --> 00:44:53,135
And there is a flavour to that
that affects your whole life,
559
00:44:54,217 --> 00:44:58,717
so one of the things
that was very comforting
560
00:44:58,884 --> 00:45:00,093
and easy for us together
561
00:45:00,259 --> 00:45:02,384
was the fact that we shared that
562
00:45:02,551 --> 00:45:05,884
and, in a way, that's another
lifelong journey, isn't it,
563
00:45:06,051 --> 00:45:07,342
is processing that.
564
00:45:08,467 --> 00:45:09,926
And if you're kind of shy
565
00:45:10,093 --> 00:45:13,884
and poetic like he was,
then you do that through music.
566
00:45:19,384 --> 00:45:21,259
I started making records
567
00:45:21,426 --> 00:45:25,467
and I made "Memoryhouse"
in 2002.
568
00:45:26,009 --> 00:45:28,634
It was almost like
a series of questions
569
00:45:29,176 --> 00:45:33,176
to see if a language could do
all these things I wanted to do.
570
00:45:35,467 --> 00:45:38,300
And kind of no one heard
that record.
571
00:45:39,551 --> 00:45:41,551
I mean, other musicians heard it
572
00:45:41,717 --> 00:45:45,135
and it had a kind of a little,
tiny, culty sort of audience.
573
00:45:45,551 --> 00:45:47,801
But, you know,
the record label was shut down.
574
00:45:47,968 --> 00:45:49,300
We never got to play it.
575
00:45:49,843 --> 00:45:51,093
Nothing happened.
576
00:45:58,467 --> 00:46:00,676
It really took a while,
years and years and years,
577
00:46:00,843 --> 00:46:02,801
before anyone really
paid attention to...
578
00:46:03,843 --> 00:46:06,884
You know, the number of times
we had to, like, go to Plan B.
579
00:46:07,884 --> 00:46:10,342
We were, like,
moving house randomly.
580
00:46:10,634 --> 00:46:13,217
You know,
it was just very chaotic.
581
00:46:13,384 --> 00:46:16,217
I mean, it's tough. It's tough
to make a living. It really is.
582
00:46:19,509 --> 00:46:23,676
Trying to, you know,
make records to a high standard
583
00:46:24,426 --> 00:46:27,426
with real musicians on them,
it costs money
584
00:46:27,592 --> 00:46:28,926
which I didn't have.
585
00:46:30,509 --> 00:46:32,426
I remember at
the "Blue Notebooks" sessions,
586
00:46:32,592 --> 00:46:34,426
we recorded it in one day.
587
00:46:35,093 --> 00:46:37,093
One afternoon, in fact,
with the strings,
588
00:46:37,467 --> 00:46:39,009
cos that's the money we had.
589
00:46:40,093 --> 00:46:43,843
And I remember trying
to get home from a session
590
00:46:44,009 --> 00:46:46,634
and not being able to get
any money out of the bank
591
00:46:46,801 --> 00:46:47,968
because we had no money.
592
00:46:53,384 --> 00:46:56,135
That's the constant
question for artists, isn't it?
593
00:46:56,676 --> 00:46:57,926
Do you persevere?
594
00:47:00,926 --> 00:47:02,717
When he did
"Vivaldi Recomposed",
595
00:47:02,884 --> 00:47:05,509
he was still walking
40, 60 minutes across town
596
00:47:05,676 --> 00:47:07,676
to interviews because
we couldn't afford the fare
597
00:47:07,843 --> 00:47:09,509
and we certainly went
through many years
598
00:47:09,676 --> 00:47:11,968
where we would feed the children
rather than ourselves.
599
00:47:18,884 --> 00:47:22,384
I mean, most people do not make
a living in any art form,
600
00:47:22,551 --> 00:47:23,843
so what do you do
601
00:47:24,009 --> 00:47:26,676
when you're faced with that
and you have children?
602
00:47:28,592 --> 00:47:30,884
You're so responsible
for these little people
603
00:47:31,051 --> 00:47:33,509
and you can't muck it up.
604
00:47:48,926 --> 00:47:54,135
Not bad, Al! Only played that
all summer. Pretty nice.
605
00:47:54,300 --> 00:47:55,926
I got that one wrong.
I didn't do that one.
606
00:47:56,093 --> 00:47:58,342
Yeah, but you did it the same
both times, so it's cool.
607
00:47:59,509 --> 00:48:00,551
That was really nice.
608
00:48:00,717 --> 00:48:02,135
Really nice.
609
00:48:05,217 --> 00:48:07,592
I mean, I didn't support
the family for years.
610
00:48:08,884 --> 00:48:10,676
We just kind of scratched by.
611
00:48:10,843 --> 00:48:13,759
And I think if I had been able
to imagine doing anything else,
612
00:48:13,926 --> 00:48:15,259
I probably would have.
613
00:48:29,759 --> 00:48:31,009
Eventually, I got ill,
614
00:48:31,176 --> 00:48:33,009
because I was just so
malnourished.
615
00:48:33,176 --> 00:48:35,676
You just think you're somehow
invincible, don't you?
616
00:48:35,843 --> 00:48:37,426
And you keep going.
617
00:48:37,592 --> 00:48:40,217
Your body's showing you
all the signs of,
618
00:48:40,384 --> 00:48:41,968
"You can stop now,"
619
00:48:42,135 --> 00:48:44,384
and you go, "No, no, it's OK.
I can keep going."
620
00:48:44,551 --> 00:48:47,384
Obviously, you can't in the end,
so I did become quite sick.
621
00:48:49,592 --> 00:48:52,592
I guess it's the first
time I'd really thought about
622
00:48:53,384 --> 00:48:56,843
how we're living our lives,
how I'm...what I'm doing.
623
00:48:59,259 --> 00:49:01,300
I mean, of course it's...
You know,
624
00:49:01,467 --> 00:49:03,051
the fact of our mortality
is real,
625
00:49:03,217 --> 00:49:05,717
but it's only real
when it's real, you know,
626
00:49:05,884 --> 00:49:08,051
because we keep it away.
627
00:49:08,217 --> 00:49:10,342
We keep those thoughts away
by doing other things.
628
00:49:14,135 --> 00:49:18,634
Quite a big bit of thinking
about what to, you know...
629
00:49:18,801 --> 00:49:20,676
what those things mean,
630
00:49:20,843 --> 00:49:23,093
but then do what, you know?
631
00:49:23,259 --> 00:49:26,384
Give up and do what?
I don't know.
632
00:49:34,467 --> 00:49:37,467
I guess things do add up
over time, you know.
633
00:49:40,051 --> 00:49:44,426
And "Blue Notebooks" did sort
of catch people's ears somehow.
634
00:49:46,135 --> 00:49:48,551
It just seemed to...
It started something.
635
00:49:50,551 --> 00:49:53,509
I mean, we got the opportunity
to premiere "Memoryhouse"
636
00:49:53,676 --> 00:49:55,801
ten years after it was released,
637
00:49:55,968 --> 00:49:58,051
which we did in the Barbican
in London.
638
00:49:58,801 --> 00:50:01,509
The place was full and it was
like, you know, a love-in.
639
00:50:01,676 --> 00:50:03,300
It was like a homecoming.
640
00:50:04,968 --> 00:50:07,300
There was something wonderful
about that, you know.
641
00:50:07,467 --> 00:50:10,676
To just kind of keep going
and ten years later here we are.
642
00:50:16,384 --> 00:50:18,884
Writing a piece like
"Sleep" takes over two years.
643
00:50:19,051 --> 00:50:21,093
So those two years
have to be funded.
644
00:50:23,093 --> 00:50:26,968
And the way we found
our way through eventually
645
00:50:27,135 --> 00:50:29,551
was we came up with
a little formula, actually,
646
00:50:29,717 --> 00:50:31,384
of how to feed ourselves,
which was
647
00:50:31,551 --> 00:50:34,592
that Max would do film work
and that film work,
648
00:50:34,759 --> 00:50:37,676
the money would go back
into the art, always.
649
00:50:37,843 --> 00:50:40,592
So he could, at night,
work on "Sleep".
650
00:50:42,467 --> 00:50:44,384
I got into the habit
of writing at night
651
00:50:44,551 --> 00:50:45,717
when the kids were small.
652
00:50:46,384 --> 00:50:47,717
We used to put them to bed
653
00:50:47,884 --> 00:50:51,176
and then I guess my work days
were kind of
654
00:50:51,926 --> 00:50:54,884
eight or nine o'clock
in the evening to about three.
655
00:50:55,384 --> 00:50:57,342
Sort of. Something like that.
656
00:50:57,509 --> 00:50:59,426
Until I kind of fell off
my chair, basically.
657
00:51:01,467 --> 00:51:05,467
In a way, making creative things
is also kind of...
658
00:51:05,634 --> 00:51:08,968
I feel like it's a kind of
self-medicating in a way.
659
00:51:09,259 --> 00:51:12,426
So you write the piece that
you wish someone had written
660
00:51:12,592 --> 00:51:14,592
so you can listen to it.
661
00:51:19,926 --> 00:51:23,926
This sort of slightly obsessive
involvement with music
662
00:51:24,093 --> 00:51:27,009
probably kept me going.
663
00:51:27,176 --> 00:51:28,801
To the edge
of the woods before...
664
00:51:28,968 --> 00:51:30,926
'Cause we don't want to be
in the dark.
665
00:51:31,093 --> 00:51:32,884
Well, I don't mind
being in the dark.
666
00:51:33,051 --> 00:51:34,467
It's kind of adventurous...
667
00:51:43,884 --> 00:51:48,259
I think of making a piece
of writing and creative work
668
00:51:48,426 --> 00:51:51,968
as sort of... It's like moving
from a space which we know
669
00:51:52,135 --> 00:51:53,926
into a space we don't know.
670
00:51:54,551 --> 00:51:57,968
And that's
the kind of interesting part.
671
00:51:59,176 --> 00:52:03,259
And actually it hardly matters
what's there.
672
00:52:03,426 --> 00:52:05,968
It's that little process
of just stepping out
673
00:52:06,135 --> 00:52:08,592
into somewhere you don't know.
674
00:52:10,801 --> 00:52:14,426
At a certain point, it's almost
like the piece starts dreaming.
675
00:57:08,926 --> 00:57:12,509
I am a visual artist,
so I'm very project-oriented.
676
00:57:12,676 --> 00:57:16,926
I'm making projects that usually
take a year or two to complete,
677
00:57:17,093 --> 00:57:18,884
so there's a lot of things
to work out.
678
00:57:20,551 --> 00:57:22,592
This, because it was
so durational,
679
00:57:22,759 --> 00:57:25,926
gave me the opportunity
to resolve some questions
680
00:57:26,093 --> 00:57:28,176
that I was having about
what direction I was taking
681
00:57:28,342 --> 00:57:29,884
with certain things.
682
00:57:32,009 --> 00:57:34,592
My mind was wandering
and things were happening,
683
00:57:34,759 --> 00:57:39,300
but that music was there and
it was permeating into my mind.
684
00:57:41,801 --> 00:57:43,300
It's one thing
that really intrigues me
685
00:57:43,467 --> 00:57:47,176
about this project of his
that he certainly had intentions
686
00:57:47,342 --> 00:57:49,176
when he started it,
687
00:57:49,342 --> 00:57:52,509
but knowing what that experience
would be like for other people
688
00:57:52,676 --> 00:57:55,300
and those random factors
that come in...
689
00:57:57,467 --> 00:58:00,968
What influence is a sound
690
00:58:01,135 --> 00:58:05,801
on what's happening in your mind
as you're kind of drifting off.
691
00:58:10,634 --> 00:58:15,300
I am kind of at a point in life
where I feel like
692
00:58:15,467 --> 00:58:17,426
I need to make the best use
of my time
693
00:58:17,592 --> 00:58:19,717
and time is something
that's really important.
694
00:58:23,176 --> 00:58:26,093
I mean, daily life is hectic
when you have a family
695
00:58:26,259 --> 00:58:29,176
and you're worrying about
pick-up time from school
696
00:58:29,342 --> 00:58:32,051
and trying to balance
everything else out,
697
00:58:32,217 --> 00:58:35,467
trying to fit in everything
I want to fit in the day
698
00:58:35,634 --> 00:58:37,217
in the time that I have.
699
00:58:39,051 --> 00:58:41,509
Mixing that
with my own personal work
700
00:58:41,676 --> 00:58:46,176
and then just kind of keeping
our house in order. It's busy.
701
00:58:54,135 --> 00:58:57,509
When you have
these other factors involved,
702
00:58:57,676 --> 00:59:01,051
like Max has, you know,
people that are laying on cots
703
00:59:01,217 --> 00:59:03,926
and listening to that music,
704
00:59:04,801 --> 00:59:07,176
how does that change it?
What does that do?
705
00:59:12,009 --> 00:59:15,009
I'm intrigued
with starting with an idea
706
00:59:15,176 --> 00:59:17,884
and seeing how does it shape
and form and change
707
00:59:18,093 --> 00:59:20,384
as you introduce other people
into it,
708
00:59:21,176 --> 00:59:24,634
as everybody, I'm sure, had
their own unique experience.
709
00:59:30,717 --> 00:59:32,426
I don't know
who these people are,
710
00:59:32,592 --> 00:59:34,384
you know,
what has drawn them here.
711
00:59:45,676 --> 00:59:49,551
Experiencing "Sleep" live is
really not like anything else.
712
00:59:49,717 --> 00:59:50,801
Who does this?
713
00:59:50,968 --> 00:59:53,509
Who makes, you know,
714
00:59:53,676 --> 00:59:56,051
an eight-hour-long
musical composition
715
00:59:56,217 --> 00:59:57,884
that lasts that duration,
that's set up
716
00:59:58,051 --> 01:00:02,093
for people to fall asleep to?
It's not like anything else.
717
01:03:05,592 --> 01:03:07,384
When I sit down at the piano
718
01:03:07,551 --> 01:03:10,843
at the beginning of the night,
there are 200-something pages
719
01:03:11,009 --> 01:03:13,009
of piano music to play through.
720
01:03:15,467 --> 01:03:16,801
You know, it's a big score,
721
01:03:16,968 --> 01:03:18,759
which plays
from beginning to end.
722
01:03:22,300 --> 01:03:24,051
I'm probably on the stage
723
01:03:24,217 --> 01:03:26,300
for about seven-and-a-half
of the eight hours.
724
01:03:26,467 --> 01:03:29,259
Something like that, overall.
Which is a lot.
725
01:03:30,509 --> 01:03:34,051
I get breaks, just to kind of
grab a bite to eat
726
01:03:34,217 --> 01:03:36,592
or a cup of coffee or something.
727
01:03:37,884 --> 01:03:40,093
And, in fact,
all the players get breaks.
728
01:03:56,217 --> 01:03:59,093
It's very tough
on the string players, actually.
729
01:04:00,884 --> 01:04:03,926
A lot of the pieces
use very sustained tones.
730
01:04:04,426 --> 01:04:05,676
Very quiet, you know,
731
01:04:05,843 --> 01:04:08,426
which is the hardest thing
for string players to do.
732
01:04:16,926 --> 01:04:20,093
I kind of kidded myself
when we first started doing it
733
01:04:20,259 --> 01:04:22,801
that it was fine, everyone
would be fine, no problem.
734
01:04:23,217 --> 01:04:25,676
But it is actually a problem.
It's really hard.
735
01:04:27,676 --> 01:04:30,676
It's just really physically
and mentally tough.
736
01:04:31,217 --> 01:04:33,926
First of all to be concentrating
for that amount of time,
737
01:04:34,467 --> 01:04:37,467
cos even though, you know,
I'm a pianist,
738
01:04:37,634 --> 01:04:40,426
you know,
the notes come into your eyes
739
01:04:40,592 --> 01:04:42,259
and they come out
of your fingers,
740
01:04:42,426 --> 01:04:44,634
that bit is sort of automatic,
741
01:04:44,801 --> 01:04:46,968
but you're still having
to concentrate.
742
01:04:49,759 --> 01:04:53,759
Doing anything solidly
for eight hours is hard.
743
01:04:54,759 --> 01:04:57,426
And, you know, you get achy
and stiff and sore
744
01:04:57,592 --> 01:04:59,801
and, yeah, it's tough.
745
01:13:33,592 --> 01:13:35,968
I love to just come off
the stage
746
01:13:36,135 --> 01:13:39,592
on one of my little breaks,
just to hear it.
747
01:13:43,884 --> 01:13:47,717
Out in the house we have this
sort of magical cathedral sound,
748
01:13:47,884 --> 01:13:49,926
you know, and I love that sound.
749
01:13:50,093 --> 01:13:52,467
That's the sound
that the piece was written for.
750
01:13:54,509 --> 01:13:56,592
So I just wander around
and have a listen
751
01:13:56,759 --> 01:13:58,759
and just kind of see
what people are up to.
752
01:13:58,926 --> 01:14:02,135
Cos that's really nice for me,
just to kind of check in with,
753
01:14:02,300 --> 01:14:05,467
you know, how everyone is
sort of finding it.
754
01:14:11,759 --> 01:14:14,759
What's beautiful is just seeing
the effect
755
01:14:14,926 --> 01:14:18,259
the piece is having on people.
I mean, that's an amazing thing
756
01:14:18,426 --> 01:14:22,009
because you don't really ever
get to see that
757
01:14:22,176 --> 01:14:23,467
in such an intimate way.
758
01:14:28,676 --> 01:14:32,509
And just being able to see, you
know, somebody sleeping there,
759
01:14:32,676 --> 01:14:34,801
or, you know,
doing their yoga or something
760
01:14:34,968 --> 01:14:38,009
or, you know, walking about
and thinking their thoughts.
761
01:14:38,176 --> 01:14:40,509
You just kind of get
a much bigger sense
762
01:14:40,676 --> 01:14:42,801
of what the piece is doing.
763
01:14:55,717 --> 01:14:58,426
Every performance is
really, really special.
764
01:14:59,801 --> 01:15:02,135
It's one of these
sort of paradoxical things.
765
01:15:03,384 --> 01:15:07,093
It's incredibly hard to do it,
but it's kind of so worth it.
766
01:15:10,300 --> 01:15:13,051
It costs so much to do it
and to try and make it happen,
767
01:15:13,217 --> 01:15:17,009
you know, on a personal level
and yet it's so satisfying.
768
01:15:30,135 --> 01:15:33,759
Every second is
a deliberate second.
769
01:15:35,217 --> 01:15:38,217
Every note is deliberate.
770
01:15:39,384 --> 01:15:41,384
So it was a massive undertaking
771
01:15:41,926 --> 01:15:45,135
and that's what's amazing to me,
I suppose,
772
01:15:45,300 --> 01:15:46,843
that somebody can do that,
773
01:15:47,009 --> 01:15:50,259
that they have that much staying
power with a creative project
774
01:15:50,426 --> 01:15:52,801
that they can see
something like this through.
775
01:15:54,135 --> 01:15:57,009
And that he can perform it.
I mean, I don't think I could.
776
01:15:57,176 --> 01:15:59,384
I couldn't play for eight hours
straight.
777
01:16:01,093 --> 01:16:04,676
That's what he's brought to me
and my work,
778
01:16:04,843 --> 01:16:09,342
his seeing through the...
seeing through difficulties.
779
01:16:10,342 --> 01:16:13,051
It's made me more of a fighter
for what I believe in
780
01:16:14,176 --> 01:16:19,176
and more committed, in a way,
to shaking things up
781
01:16:19,342 --> 01:16:21,926
and trying new things, you know,
and not stopping.
782
01:16:28,759 --> 01:16:32,801
You know, when we were young
and he was putting out his work,
783
01:16:32,968 --> 01:16:34,717
year after year after year,
784
01:16:34,884 --> 01:16:37,968
and, you know, when you're young
and you're starting out,
785
01:16:38,135 --> 01:16:40,342
you do get kicked around a lot
and some of the things
786
01:16:40,509 --> 01:16:43,467
that happened to him,
I would just...I mean,
787
01:16:43,968 --> 01:16:47,717
would have sent me to bed,
crying, and yet he is...
788
01:16:47,884 --> 01:16:50,384
It's just a river passing by
for him.
789
01:16:51,884 --> 01:16:54,426
I remember talking
to Yulia about this at the time,
790
01:16:54,592 --> 01:16:56,676
you know,
and I was making decisions
791
01:16:56,843 --> 01:16:59,426
about how
the "Blue Notebooks" should be
792
01:16:59,592 --> 01:17:00,801
and what we would do with it,
793
01:17:01,342 --> 01:17:05,509
and she said, "The thing is,
you know, if the record fails,
794
01:17:06,467 --> 01:17:08,300
and you've made compromises,
795
01:17:08,467 --> 01:17:10,509
then you're going to be
really annoyed,
796
01:17:10,759 --> 01:17:14,384
but if it fails and you did
exactly what you wanted,
797
01:17:14,551 --> 01:17:16,093
then who cares?"
798
01:17:16,634 --> 01:17:19,634
So that's always been the M.O.
sort of going forward.
799
01:17:20,426 --> 01:17:22,300
Just kind of
always bet the farm.
800
01:17:24,634 --> 01:17:26,135
We didn't have a farm!
801
01:17:27,176 --> 01:17:29,176
But, you know,
we always bet the farm.
802
01:17:32,176 --> 01:17:34,259
For me,
it's all about Max's smile.
803
01:17:34,801 --> 01:17:37,843
He could have been anybody.
I don't care what he does!
804
01:17:38,009 --> 01:17:39,801
I mean, I don't care
what Max does.
805
01:17:39,968 --> 01:17:41,843
He doesn't have to be
a composer for me.
806
01:17:42,009 --> 01:17:44,884
I love his smile and I still
love his smile 27 years later,
807
01:17:45,051 --> 01:17:46,843
so it's all about that really.
808
01:17:52,509 --> 01:17:54,176
He's a vulnerable man
809
01:17:54,342 --> 01:17:56,509
and, musically,
he's not afraid to show it
810
01:17:56,676 --> 01:17:59,926
and I think he's not afraid
to talk about vulnerability
811
01:18:00,093 --> 01:18:02,176
and that's something
quite precious
812
01:18:02,342 --> 01:18:04,676
because everybody there is
vulnerable in that moment
813
01:18:04,843 --> 01:18:06,843
when they're all sleeping
in a room together.
814
01:18:07,592 --> 01:18:10,426
And I think that fragility
and vulnerability in life
815
01:18:10,592 --> 01:18:12,551
is something that he wants
to talk about.
816
01:18:14,259 --> 01:18:17,217
It goes right the way through
to an understanding of the world
817
01:18:17,384 --> 01:18:21,300
and humaneness, I would say, is
the big word we try, you know...
818
01:18:22,051 --> 01:18:24,051
I mean, we're all flawed
human beings, right?
819
01:18:25,176 --> 01:18:28,384
We don't manage it all the time!
Or most of the time.
820
01:18:28,551 --> 01:18:30,843
But we try,
and that's the thing, isn't it?
821
01:18:45,968 --> 01:18:48,717
I have such admiration
for his determination
822
01:18:48,884 --> 01:18:49,968
and his perseverance.
823
01:18:52,509 --> 01:18:54,717
The fact that he can just...
He does it, you know.
824
01:18:55,884 --> 01:18:59,093
That's a big thing for me.
I think my admiration for him
825
01:18:59,259 --> 01:19:01,968
has increased
through this project.
826
01:19:12,300 --> 01:19:15,426
Their collaboration
is so gorgeous.
827
01:19:17,176 --> 01:19:21,801
To be ambitious
for something that ethereal
828
01:19:24,300 --> 01:19:27,551
is an...unusual thing.
829
01:19:28,551 --> 01:19:31,342
I don't see it that much.
I see people ambitious
830
01:19:31,509 --> 01:19:34,884
for large objects
that will stay there forever.
831
01:19:35,051 --> 01:19:38,217
I see people be ambitious
for movies or something,
832
01:19:38,384 --> 01:19:41,926
but to be ambitious
for a moment at night
833
01:19:42,093 --> 01:19:44,093
with strangers together?
834
01:19:44,259 --> 01:19:47,467
I just think
that's...that's just glorious.
835
01:21:18,843 --> 01:21:21,300
Experiences like this
I think remind people
836
01:21:21,467 --> 01:21:23,676
that even in a world where
people are very busy,
837
01:21:23,843 --> 01:21:28,426
that if you were to place
the arts back into society
838
01:21:28,592 --> 01:21:32,176
there are these rejuvenating
types of experiences
839
01:21:32,342 --> 01:21:34,135
that can happen between people.
840
01:21:37,509 --> 01:21:40,717
By having an eight-hour
performance,
841
01:21:40,884 --> 01:21:44,926
in a world where three minutes
is what is commercially viable,
842
01:21:45,093 --> 01:21:49,634
I think that already flips
expectations on its head.
843
01:22:18,926 --> 01:22:21,135
I teach. I also play.
844
01:22:21,801 --> 01:22:24,717
And my mission,
first and foremost,
845
01:22:24,884 --> 01:22:27,176
when working with new students
is, typically,
846
01:22:27,342 --> 01:22:30,926
to get them to realise
that the sounds that you hear,
847
01:22:31,093 --> 01:22:33,093
you can wield them as well.
848
01:22:35,342 --> 01:22:38,509
You have the ability
to make meaning out of sound.
849
01:22:38,676 --> 01:22:40,676
It's like the craziest magic.
850
01:22:46,467 --> 01:22:49,843
And then by having
that sort of instrumentation,
851
01:22:50,009 --> 01:22:53,259
I think it says you could have
a violin or a cello
852
01:22:53,426 --> 01:22:55,676
right next to a synthesiser.
853
01:22:59,135 --> 01:23:01,926
That gives them
a window into something
854
01:23:02,093 --> 01:23:04,467
they may not have known
they didn't know
855
01:23:04,634 --> 01:23:06,801
and gives them the tools
necessary
856
01:23:07,009 --> 01:23:09,300
to maybe be
the next Max Richter.
857
01:23:09,509 --> 01:23:11,176
I don't know. Maybe.
858
01:25:08,300 --> 01:25:11,259
I took the spectrum,
the sonic spectrum,
859
01:25:11,426 --> 01:25:14,968
that the unborn baby hears
in the womb,
860
01:25:18,634 --> 01:25:20,843
which is basically
no high frequencies
861
01:25:21,009 --> 01:25:23,051
because the mother's body
filters all of those.
862
01:25:25,801 --> 01:25:30,551
So I've used that spectrum
for almost the entire piece.
863
01:25:32,801 --> 01:25:36,009
And then,
around sort of seven hours,
864
01:25:36,176 --> 01:25:39,884
the spectrum opens up so you get
more and more high frequencies.
865
01:25:41,135 --> 01:25:42,843
So there's kind of a sunrise.
866
01:25:45,135 --> 01:25:46,509
An acoustic sunrise.
867
01:26:19,592 --> 01:26:23,135
I think there's something very
fundamental about that spectrum
868
01:26:23,300 --> 01:26:26,467
because that obviously goes
to our first memories
869
01:26:26,634 --> 01:26:28,217
of being a person.
870
01:26:30,426 --> 01:26:33,135
Even before we're born,
we have this auditory memory
871
01:26:33,676 --> 01:26:35,926
which has
a very particular colour.
872
01:26:38,551 --> 01:26:43,093
So that's how the sort of sonics
of the piece work on us.
873
01:26:59,384 --> 01:27:02,342
5:49 a.m. Awake.
874
01:27:05,176 --> 01:27:08,843
Just saw a stray cat,
lots of sleeping people.
875
01:27:09,009 --> 01:27:11,509
Feel quite rested. Very alert.
876
01:27:12,176 --> 01:27:13,676
A little emotional.
877
01:27:16,926 --> 01:27:19,300
People actually
were pretty respectful.
878
01:27:19,467 --> 01:27:20,634
Not a lot of chatter.
879
01:27:21,217 --> 01:27:23,551
There was a woman
with a bathing suit on.
880
01:27:24,384 --> 01:27:27,217
A guy with
a "rock, paper, scissor" tattoo
881
01:27:27,384 --> 01:27:29,093
that I thought
was sign language.
882
01:27:32,342 --> 01:27:34,342
It made me reflect
on my relationship,
883
01:27:34,509 --> 01:27:37,717
knowing all the difficulties
that we've been through
884
01:27:37,884 --> 01:27:40,843
as a couple,
all the tears, all the fights.
885
01:27:41,009 --> 01:27:44,300
It's all worth it,
like, to be with Terri
886
01:27:44,467 --> 01:27:46,717
because I love her so much.
887
01:28:17,592 --> 01:28:20,843
I was asleep for some
of it and awake for some of it
888
01:28:21,009 --> 01:28:24,384
and it kind of just blended
with dreaming.
889
01:28:25,300 --> 01:28:29,259
It was restful, but it was
like a journey as well.
890
01:28:39,551 --> 01:28:41,259
There's parts of it
that I recognise
891
01:28:41,426 --> 01:28:43,426
and there's parts where I go,
"Was I asleep?"
892
01:28:43,592 --> 01:28:47,176
I don't even remember anymore
because it was all very fluid.
893
01:29:32,676 --> 01:29:36,426
Falling asleep around
a lot of people we didn't know,
894
01:29:37,801 --> 01:29:40,801
just seeing how other people
interact with the music as well,
895
01:29:40,968 --> 01:29:44,093
it was really insightful
and moving.
896
01:30:24,592 --> 01:30:27,384
It takes years
to get to the place
897
01:30:27,551 --> 01:30:30,509
where it really starts
and can really take off.
898
01:30:34,467 --> 01:30:36,467
I feel like we're at
the beginning of something.
899
01:30:40,300 --> 01:30:43,592
Just starting, really. And
that's what's incredible for us.
900
01:31:31,093 --> 01:31:32,509
What if you slept?
901
01:31:35,551 --> 01:31:38,801
And what if, in your sleep,
you dreamed?
902
01:31:41,509 --> 01:31:45,176
And what if, in your dreams,
you went to heaven
903
01:31:47,509 --> 01:31:50,634
and there you plucked
a strange and beautiful flower?
904
01:31:53,259 --> 01:31:55,259
And what if, when you awoke,
905
01:31:57,135 --> 01:31:59,135
you had that flower
in your hand?
906
01:32:02,509 --> 01:32:04,135
Ah, what then?
907
01:33:43,551 --> 01:33:45,926
It was kind of like...
908
01:33:46,093 --> 01:33:49,467
a wave would come over you
and just wake you.
909
01:34:06,759 --> 01:34:10,509
You'd hear just like the rub
of the strings - rrrrr!
910
01:34:10,676 --> 01:34:13,884
It felt almost like a massage,
but inside.
911
01:34:18,300 --> 01:34:20,717
I'm still in a trance, I think.
912
01:34:20,884 --> 01:34:24,717
And in my head there's
a whole world of creatures.
913
01:34:25,384 --> 01:34:27,384
The woman who sang,
914
01:34:27,551 --> 01:34:30,467
it was like a mermaid
that was singing to me
915
01:34:30,634 --> 01:34:33,801
that wanted to grab me
and pull me into the ocean.
916
01:34:34,342 --> 01:34:36,676
Max was for me a kind of fox.
917
01:34:36,843 --> 01:34:40,676
Very gentle,
but also very sneaky, in a way,
918
01:34:40,843 --> 01:34:43,426
that he trapped us
from minute one.
919
01:34:43,592 --> 01:34:46,859
He just did it in such
a beautiful, elegant way.
69810
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