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Speaker 1: Today on in service of we spoke with the legendary

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Speaker 1: composer Hans Zimmer and the renowned director Paul Dugdale about

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Speaker 1: their upcoming concert film, Hans Zimmer and Friends. Diamond in

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Speaker 1: the Desert premiere in March nineteenth. The film captures Zimmer's

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Speaker 1: iconic music like ever before, blending breathtaking live performances with

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Speaker 1: intimate behind the scenes moments. We dive into Hans's creative process,

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Speaker 1: the magic of orchestras, and how this film redefines the

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Speaker 1: concert experience. They take you behind the scenes with interviews

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Speaker 1: that Hans does with Billie Eilish, Timothy Shalom, Zindea, Forrell Williams,

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Speaker 1: Christopher Nolan, and so many more. The film is amazing

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Speaker 1: and it was such an honor to speak to them both.

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Speaker 1: Get ready for an inspiring look at the power of music.

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Speaker 2: First, we'll welcome you to the podcast portion. I'm Steve

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Speaker 2: the stage. Thanks so much for being here. I'm curious,

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Speaker 2: do you wish you had seen the rock and Roll

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Speaker 2: Party at any point, because that's not one part.

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Speaker 3: No, no, no, no no. In fact, you know my

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Speaker 3: life making movies with personal and I think back to

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Speaker 3: the amount of parties we've been invited to and reluctantly

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Speaker 3: have gone, and then squeezed ourselves into a corner and

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Speaker 3: just started talking about film and the amount of great

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Speaker 3: ideas we started to have which had nothing to do

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Speaker 3: with the party, and we would have the great ideas

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Speaker 3: about what we wanted to do work wise for the film,

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Speaker 3: and we just sneak out and go to a studio

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Speaker 3: and make noise. You know, when when when you when

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Speaker 3: you have when you have a friend that you can

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Speaker 3: talk to about some projects and you get excited about

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Speaker 3: the project. Suddenly it's a great party, but nobody else is,

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Speaker 3: you know, involved in the conversation.

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Speaker 2: Well at least inspires ideas.

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Speaker 3: Though.

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Speaker 2: It's funny because yeah, because.

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Speaker 3: It's the flight of you know, the reality all around

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Speaker 3: you that sort of focuses your brain into the idea

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Speaker 3: space somehow.

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Speaker 2: That's so funny justin I'm going to let's say it's

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Speaker 2: take over in one second. But I wonder if you

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Speaker 2: ever actually went to a great party, if in fact

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Speaker 2: that would negate the ideas, if it would kind of

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Speaker 2: be something where you focus on the party instead. It's

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Speaker 2: kind of similar to like when I go to a party,

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Speaker 2: I'll stand up in the corner with the dog loudly.

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Speaker 3: Absolutely, And I have gone to some great parties, you know,

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Speaker 3: and I came away not having any ideas. And then

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Speaker 3: as the week's gone by and the interesting intellectual conversations

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Speaker 3: started to sort of foment in my brain. Yes, all

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Speaker 3: sorts of crazy, great, fabulous ideas would come up.

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Speaker 1: I love this story, and it doesn't surprise me that

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Speaker 1: someone who is so remarkable at capturing the human experience,

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Speaker 1: you know, isn't isn't in it for though, those those

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Speaker 1: party moments, those like shallow moments, and I loved the

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Speaker 1: focus of humanity for this film. But there's such a

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Speaker 1: duality there. There's like this real intimacy that's almost immersive.

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Speaker 1: You feel like you're on stage, you feel like you're

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Speaker 1: with you in the interviews, and then there's this massive

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Speaker 1: grandeur with the spaces that you're in and the music.

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Speaker 1: And I'm sure when when you're playing your music in

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Speaker 1: different spaces, it offers new perspectives. And I'm curious what

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Speaker 1: that experience gave to you as far as your own

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Speaker 1: perspective on the music that you played.

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Speaker 3: Well, all audiences are different, all cultures are different, you know,

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Speaker 3: how they respond or how they don't respond. You know,

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Speaker 3: you have the very polite northern European audience. Uh, and

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Speaker 3: then you know you get further south and it's like yes, right,

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Speaker 3: so the the southern hemisphere is always better because you know,

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Speaker 3: they just got nuts and ditch here and they make

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Speaker 3: you feel at home and you know you're just all

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Speaker 3: of that. So yes, it is a different experience. It's

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Speaker 3: you know, I mean you can draw some really interesting

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Speaker 3: cultural conclusions from this, you know, but to be really honest,

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Speaker 3: I mean, you know, look, I was bullied, forced into

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Speaker 3: this role of leaving my dark and windowless room and

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Speaker 3: suddenly hop onto the stage and become that other person.

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Speaker 3: And of course what I didn't do is I didn't

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Speaker 3: become the other person, you know, I I whatever comes

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Speaker 3: out of my mouth. And Paul will verify this. And

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Speaker 3: because it's very hard for a director to make a

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Speaker 3: film when you have somebody who will not hit them,

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Speaker 3: will not repeat the same story again, and just go,

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Speaker 3: you know, just just you know, because I can't. I can't,

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Speaker 3: you know, it's like boring. So I just make things

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Speaker 3: up as I see the audience, as I react to

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Speaker 3: the audience, as I see the audience react, you know,

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Speaker 3: so it really becomes a dialogue. And I say to

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Speaker 3: them at the beginning, I'm not I have no stagecraft

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Speaker 3: at all. So the only thing I can do. Let's

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Speaker 3: treat this like a like a dinner party, and we're

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Speaker 3: just going to have a chat. Right, That's that's the

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Speaker 3: best I can do. So come to my house and

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Speaker 3: we chat, you know. And so it works quite well,

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Speaker 3: I think. I do think it makes it hard for

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Speaker 3: Paul because he doesn't quite know what's going to happen next.

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Speaker 4: Yeah, well that's all part of the fun for sure.

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Speaker 5: And and and the you know, all the conversations that

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Speaker 5: are threaded through the film were really kind of you know,

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Speaker 5: we want them to be really informal and wild and spontaneous.

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Speaker 5: And I did, you know, I had some themes that

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Speaker 5: I wanted, uh hands and friends to tackle, but we'd

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Speaker 5: always start just completely carte blanche, and it was just

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Speaker 5: a chat, you know, and see where Hans went, and

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Speaker 5: it was all very spontaneous.

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Speaker 3: I just remember always getting to the end of the

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Speaker 3: chat and going we didn't talk about any of the stuff.

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Speaker 4: But that's the beauty of it's it's good and you know,

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Speaker 4: You're obviously a brilliant rack on turn.

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Speaker 5: So that was part of the fun of it. And

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Speaker 5: there were only you know, a couple of times I

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Speaker 5: would steer it, but no, we just wanted. I think

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Speaker 5: it was really good to have unfiltered you and spontaneous you.

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Speaker 5: And you know, with those conversations they're meant to be

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Speaker 5: informal and authentic.

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Speaker 4: And you know, just a chat and it's it's about life.

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Speaker 3: And you know, I've never said this to you, so

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Speaker 3: I'm going to say it now in front of in

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Speaker 3: front of the press. As it were. I always thought

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Speaker 3: what you were doing with these little chats, with the

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Speaker 3: interviews with my friend, you were what you were doing,

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Speaker 3: you were being really brilliant at creating an autobiography that

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Speaker 3: was very free, you know, because you found out much

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Speaker 3: more about the character and the characters I was speaking to,

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Speaker 3: because it was just you know, we were free and

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Speaker 3: loose and just talking about you figured out what interested us,

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Speaker 3: and so you figured out who we were, you know,

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Speaker 3: as opposed to you know, going by the book as

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Speaker 3: it were.

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Speaker 5: Yeah, completely, and it went both you know, it kind

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Speaker 5: of went both ways. You learn about that person, and

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Speaker 5: you know, we had some incredible names in this film.

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Speaker 5: But also it allowed us to paint a portrait of

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Speaker 5: hands from from kind of a range of different people,

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Speaker 5: So you get all these everybody kind of has an

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Speaker 5: opinion or or was able to draw different things out

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Speaker 5: of hands, you know, at different times, and it gave

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Speaker 5: this real kind of three D portrait of an artist

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Speaker 5: and obviously the person that was he was talking.

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Speaker 4: To as well.

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Speaker 3: I think we should have had the eight Masters that

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Speaker 3: kicked me out of school.

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Speaker 4: Right, I think so too, it would be a different film.

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Speaker 3: Yeah.

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Speaker 2: I'm curious about something though, because for me, right, I

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Speaker 2: don't write out questions for interviews. I haven't in a

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Speaker 2: thousand years. And so a lot of times when you

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Speaker 2: get really lost in the conversation, same as in writing

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Speaker 2: or composing, you don't even know what the hell's happening

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Speaker 2: because you're so immersed in it. So then when you

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Speaker 2: go back and look at it, you're like, oh, it's interesting.

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Speaker 2: So we're for you getting to go back and watch

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Speaker 2: these conversations. Were there things that people said that kind

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Speaker 2: of surprised you, that you're like, or that maybe you

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Speaker 2: don't even notice the first time, because again, when you're

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Speaker 2: in a good conversation. You're not sitting there recounting it.

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Speaker 2: You're simply lost in the conversation.

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Speaker 3: Yeah, I mean, yeah, there's a big difference between real

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Speaker 3: time and then see, here's the funny thing. So here

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Speaker 3: I am. I'm a film composer, and Johnny Marr and

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Speaker 3: Pharrell Williams come to me and go, Okay, you've done

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Speaker 3: this for forty years. There comes a point where you

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Speaker 3: have to look at the audience in the eye, where

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Speaker 3: you have to stop hiding behind the screen and you

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Speaker 3: have to do things in real time. So but somehow

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Speaker 3: I can't help it that the real time thing I then,

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Speaker 3: you know, metamorphosized through Paul back into a movie. So

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Speaker 3: your question, your question is very, very valid, because yes,

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Speaker 3: it's exactly what it is, exactly what happened, you know,

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Speaker 3: watching it back, I'm going, oh, we talked about this.

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Speaker 3: Oh I didn't really, I didn't really catch the news

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Speaker 3: of something you know, here or there. So playing the

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Speaker 3: show and feeling the audience is very different than watching

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Speaker 3: the show and feeling the audience, you know, and you know,

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Speaker 3: I mean we tried. I mean, Paul did an amazing

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Speaker 3: job at capturing the spirit of the whole thing. But

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Speaker 3: there's still there's still I don't know, there's still something,

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Speaker 3: you know, like the dirt under the fingernails isn't quite there,

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Speaker 3: you know, it's the I don't know, I don't know

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Speaker 3: what it is, you know, real people's hearts beating. I mean,

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Speaker 3: I mean, look, all credit goes to Paul. I think

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Speaker 3: he's done an extraordinary job of making this work. I

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Speaker 3: love that he never failed in having the carriage to

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Speaker 3: dissuade me from my really terrible ideas, even though I've

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Speaker 3: done a lot more movies than he has, and he

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Speaker 3: did it in a way that that would just make

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Speaker 3: our friendship better because I realized he was right, you know, no,

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Speaker 3: but anybody who say you from follies, you know. And

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Speaker 3: I was really happy that when I said I want

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Speaker 3: goats in this scene, he totally agreed, you know.

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Speaker 4: That was Yeah, that was definitely one we agreed on. Yeah,

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Speaker 4: for sure.

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Speaker 1: You go to so many different amazing spaces, and it's

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Speaker 1: so cool to get to lock in with the musicians,

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Speaker 1: like you feel this real intimacy with the musicians in

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Speaker 1: the way that it's shot, and then the beautiful portrait

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Speaker 1: of the hands at the end. It's all just wonderfully

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Speaker 1: comes together. But character they turn into these characters. I

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Speaker 1: think that that takes you along this journey in these

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Speaker 1: different spaces. And I have to say, one of my

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Speaker 1: favorite characters, although she wasn't physical, was Doris, and I

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Speaker 1: need to ask about her because that just made my heart.

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Speaker 3: Yes, with the two horrible kids and the gray raincoat

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Speaker 3: and the really bad bleached hair and the red red

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Speaker 3: red hands, you know, you know, like how hands get red,

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Speaker 3: you know when you're constant under water. I don't actually

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Speaker 3: know what she does, but I just know, I just

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Speaker 3: know she she she she just works so hard. You know,

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Speaker 3: life is so hard. She's she's she's always unlucky. You know,

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Speaker 3: it's like she just manages to sustain life. And come

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Speaker 3: the weekend, you know, the idea that she can, you know,

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Speaker 3: the easy way out to take them easily, the little

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Speaker 3: money she earned, go to the pub and just forget

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Speaker 3: it all, or go to cinema. And if she goes

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Speaker 3: to cinema, I feel very duty bound to her to give,

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Speaker 3: to deliver an experience something that she something that she

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Speaker 3: will remember beyond you know, what she would remember in

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Speaker 3: the pub. So our job is to distract sometimes from

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Speaker 3: the pain of life and you know, the hardship of life,

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Speaker 3: you know. And one of the reasons I wanted to

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Speaker 3: do the movie with Paul was because there are certain

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Speaker 3: places we can't get to. I mean we we are

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Speaker 3: fifteen trucks and thirteen buses, so to put the little

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Speaker 3: show together, it's one hundred and seventy one people, so

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Speaker 3: that makes it expensive and I want and cinema is

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Speaker 3: a wonderful way where you can still afford to go

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Speaker 3: and have an experience. And I just think it. I

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Speaker 3: felt bad, you know, getting a lot of emails et

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Speaker 3: cetera over the years of people, when are you ever

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Speaker 3: going to come to Minsica pins, you know, when you're

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Speaker 3: ever going to come to I don't know, you know, Antarctica.

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Speaker 3: We have to prove ourselves, but you know, we proved that.

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Speaker 3: Let's see how it goes, because we proved ourselves when

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Speaker 3: we started to do the concerts, you know, and we

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Speaker 3: were told straight away the attention span of the youth

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Speaker 3: of today is like minimals, so keep it, make it

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Speaker 3: short songs, you know, And what Pirates is fourteen minutes long.

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Speaker 3: Batman is like twenty minutes long. And they stick with

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Speaker 3: us you know, so so they want an immersive experience,

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Speaker 3: you know, and what can be more immersive and not

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Speaker 3: showing any images from the movies, So you have to

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Speaker 3: either watch the band or make your own movie in

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Speaker 3: your head. I always hope that they make their own

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Speaker 3: movie in their head, you know. And and the experiment worked,

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Speaker 3: you know, it's it's We just booked the Australian tour

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Speaker 3: and sold out within thirty minutes, sold out every venue.

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Speaker 3: So we have to add more dates of course, you know.

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Speaker 3: But but but it's it's a it's a pretty remarkable

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Speaker 3: thing because you know, what do we do. We're doing

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Speaker 3: film music, you know. You know, people used to kindly

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Speaker 3: called it background music. You know, we do film music.

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Speaker 3: We don't have a lot of singing, we don't have

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Speaker 3: any pup hits, but still we have Lion King, we

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Speaker 3: have Dune, and we have Gladiated and we have things

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Speaker 3: like that, and they seem to mean something. Well, I mean,

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Speaker 3: if you.

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Speaker 2: Look at it, though, film like music becomes such a

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Speaker 2: part of people's lives. They have so many associations with

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Speaker 2: it that it makes sense because you have childhood memories

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Speaker 2: of the films you saw when you were a kid,

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Speaker 2: of seeing them with friends, of seeing them with boyfriend's girlfriends.

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Speaker 2: So in a way it makes perfect sense. But before

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Speaker 2: we come on to that, I want to ask you

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Speaker 2: guys quickly because I want to get Paul involved as well.

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Speaker 2: It's interesting there were two great talk of me is

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Speaker 2: that I just saw. I don't usually see a lot

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Speaker 2: of music documentaries, but I did stories with both becoming

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Speaker 2: the Zeppelin and the sly Stone one because I'm obsessed

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Speaker 2: with sly Stone and that film is brilliant. For both

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Speaker 2: of you, guys, were the films that you particularly looked

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Speaker 2: at and of course you know Paul liked this last

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Speaker 2: Waltz just stopped making sense. Those are the iconic concert films?

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Speaker 2: What were the ones for you? And then there's a

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Speaker 2: one like some Song Remains the Same and I freaking

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Speaker 2: love Zeppelin and that film is so self adulted and ridiculous.

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Speaker 3: It's yeah, it's it's It's not good is it?

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Speaker 2: And I love Zeppelin?

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Speaker 3: But no, it's not the same here. I mean I

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Speaker 3: remember watching it as a teenager on coding. Oh shit,

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Speaker 3: you just ruined the band for me.

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Speaker 2: So for you, guys, what about it? Were the films

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Speaker 2: that really inspired you?

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Speaker 3: Yeah?

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Speaker 4: I mean, I think.

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Speaker 5: For me, I mean all those references that you just said, yeah,

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Speaker 5: of course, they're incredible touchstones, and they are you know, yeah,

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Speaker 5: big big inspirations to get into this job basically. But

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Speaker 5: I used to look to a director, or still do

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Speaker 5: look to a director called to call David Mallett, who

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Speaker 5: did a lot of enormous live music things in the well,

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Speaker 5: I don't know when he started, probably seventy nineties, two thousands.

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Speaker 5: He's and he does still occasionally make stuff now, a

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Speaker 5: lot of music video. He's work with Bowie and Tina

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Speaker 5: Turner and Queen and all these legends, and he just

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Speaker 5: some of his work is just the absolute best and

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Speaker 5: for me, and so I found that really inspiring. And

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Speaker 5: I guess like it wasn't it isn't a direct reference,

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Speaker 5: but certainly the look of the of the conversations that

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Speaker 5: happened in this movie where I had coffee and cigarettes

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Speaker 5: in mind, in terms of you know, it being black

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Speaker 5: and white, and they're just very sort of free conversations

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Speaker 5: that or free seeming conversations anyway, in terms of in

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Speaker 5: that film that I guess that was a sort of

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Speaker 5: a vague visual reference, but yeah.

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Speaker 4: I think they were the touchstones for me. Really, I on.

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Speaker 3: Purpose didn't watch anything. I mean, I have, I have

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Speaker 3: my ones that I love, you know, but I really

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Speaker 3: I really wanted, I really wanted to to listen to

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Speaker 3: Paul's ideas, if you know what I mean, because as

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Speaker 3: opposed to having clutter in my brain of things I've

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Speaker 3: just watched and researched. I believe I didn't mention a

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Speaker 3: single movie to you, No.

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Speaker 5: Not really, but you were I think you were really

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Speaker 5: very intuitive and good and gave us a lot of

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Speaker 5: guidance about just the feeling of like all the you know,

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Speaker 5: about just how there should be a jump to wide

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Speaker 5: screen here and there should be. It was kind of

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Speaker 5: a it was very much like same with your work. Really,

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Speaker 5: it's such an intuitive following the feeling of something.

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Speaker 3: If it's intuitive or one hundred and fifty movies.

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Speaker 4: But yeah, well yeah exactly. Well that I guess that

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Speaker 4: is learning a bit of the craft, you know, Yeah,

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Speaker 4: exactly exactly. So yeah, there was definitely that for sure.

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Speaker 3: Yeah, I mean, you know, and if I have to

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Speaker 3: name my favorite my favorite concert film, it probably would

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Speaker 3: be Woodstock, which has surprisingly little music in it, but

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Speaker 3: it just it just it's about the people, it's about

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Speaker 3: the farmer, it's about the town, it's about a social change,

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Speaker 3: you know. So I think all those those things are

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Speaker 3: really interesting. And I think one of the things which

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Speaker 3: is interesting about what Paul did we are in this

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Speaker 3: city of the future. I mean, I think, I think

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Speaker 3: Dubai is completely futuristic. And at the same time we

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Speaker 3: go and drag an orchestra and a choir and a

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Speaker 3: band into a bedroom camp just outside, you know, and

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Speaker 3: just over the hill the nivil Nerve is shooting dune

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Speaker 3: poth too, so it's like it's sort of all you know,

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Speaker 3: it was all the sort of extreme which I liked.

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Speaker 3: You know, we didn't have to do much to get extreme.

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Speaker 1: I love to know more about the preparation for this

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Speaker 1: because it's such a massive film and such a concert film.

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Speaker 1: And I love how you talked about bringing together of

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Speaker 1: the orchestra and the focus of the musicians, and you

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Speaker 1: highlighted how some of the musicians were coming from Ukraine

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Speaker 1: and you know, the difficulties that they experienced and then

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Speaker 1: being there together it was just kind of this place

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Speaker 1: of solace for everybody to just thrive and with joy

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Speaker 1: and music. But can we hear a little bit more

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Speaker 1: about the preparation for this and it all coming together.

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Speaker 3: But that's really a poor question, I think.

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Speaker 5: Yeah, I mean it was a Yeah, it's obviously a

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Speaker 5: huge undertaking, and I.

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Speaker 3: Mean, okay, may I interview you for a second.

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Speaker 4: Yeah, did you have so for the show?

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Speaker 5: There's twenty cameras, and we did a we did a

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Speaker 5: kind of a what we've described as a phantom show

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Speaker 5: where we shot with a lot less cameras, kind of

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Speaker 5: a couple of well not more than a couple of

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Speaker 5: the songs, but not the whole set list, but we

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Speaker 5: shot some without an audience. So it's a kind of

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Speaker 5: a combination of two shows which hopefully you don't really

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Speaker 5: notice the live concert, but the predominant amount of it

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Speaker 5: and the way you get the most passionate performance is

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Speaker 5: obviously the one with an audience. Yeah, twenty cameras for

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Speaker 5: that for that main shoot. And yeah, a lot of

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Speaker 5: preparation obviously learning that music. And I think, like I

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Speaker 5: was saying before, me and Hans were discussing about how

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Speaker 5: you know, when you shoot an orchestra or a band

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Speaker 5: of this size, it sometimes is the sort of common

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Speaker 5: thing to follow the music really precisely and go where

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Speaker 5: there's a violin there and a French horn plane there

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Speaker 5: and whatever. And obviously we did a little bit of that,

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Speaker 5: but this film is much more about feel and about

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Speaker 5: trying to create an atmosphere or an emotion or a

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Speaker 5: vibe where you just get carried along with the music.

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Speaker 5: You don't have to see every instrument, and it actually

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Speaker 5: it was much more for us. It was much more

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Speaker 5: about the intimacy between the players and trying to capture

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Speaker 5: that humanism that was really important. Hans is so loyal

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Speaker 5: to his band and will really fight for them, and

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Speaker 5: there were lots of instances where we really sort of

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Speaker 5: sensed and understood that they're an important family to him,

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Speaker 5: and he is the sort of, you know, the leader

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Speaker 5: of that and knows so much about everybody, and you know,

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Speaker 5: it's really is truly a big group of friends creating

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Speaker 5: something every night when they're on the road, and so

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Speaker 5: we wanted to kind of capture that spirit, you know

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Speaker 5: what I mean. And so it makes it kind of

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Speaker 5: not your it's not really a normal kind of orchestral recording.

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Speaker 5: It's much more kind of visceral than that, and hopefully

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Speaker 5: taps into the emotions that the music is is demanding,

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Speaker 5: you know.

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Speaker 3: I mean, look, it started off with me going, I

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Speaker 3: really I'm worried about the orchestras. I'm worried that the

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Speaker 3: orchestras will disappear, And if the orchestras disappear, we will

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Speaker 3: lose such an enormous amount of our you know, off

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Speaker 3: humanity of what makes us human, makes us excellent as

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Speaker 3: human beings. You know, because an orchestra playing together, you know, wow,

396
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Speaker 3: they hit a note. Everybody in the orchestra hits that

397
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Speaker 3: note with the same emotion, which is sort of you know,

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Speaker 3: is picked up by the by the audience. I mean,

399
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Speaker 3: that's quite something. This togetherness, the joy of this togetherness

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Speaker 3: is that's what makes us, culturally or whatever, are humanly extraordinary,

401
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Speaker 3: you know. So, so I'm always worried about that. But

402
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Speaker 3: at the same time, the way you see an orchestra

403
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Speaker 3: these days are the way you usually see an orchestra

404
00:24:39,680 --> 00:24:41,639
Speaker 3: is you have a man with his back to you

405
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Speaker 3: all night, and you have guys in penguin suits reading

406
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Speaker 3: the paper, and it feels a little bit like, you know,

407
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Speaker 3: like the marriage that has worn out on a Sunday morning.

408
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Speaker 3: You know, it's like, So, the first thing I did

409
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Speaker 3: was I got rid of the conductor, because there's no

410
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Speaker 3: reason to have a conductor. We have modern technology. We

411
00:25:01,960 --> 00:25:05,680
Speaker 3: have screens which you can't see but that you know.

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Speaker 3: Plus it up there, you know, and and the orchestra

413
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Speaker 3: can see it, and and and you know it conduct

414
00:25:12,240 --> 00:25:17,320
Speaker 3: it conducts, you know, and everybody can see it. And

415
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Speaker 3: the other thing is, you know, now suddenly there's a

416
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Speaker 3: there's a plus. The orchestra knows most of the stuff

417
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Speaker 3: by heart by now, you know, if solo has know

418
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Speaker 3: their stuff by heart, why shouldn't the orchestra know stuff

419
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Speaker 3: by hard So it gives them an opportunity to have

420
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Speaker 3: a sort of an uninterrupted relationship with the audience in

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Speaker 3: a way. I mean, there's a sideline that they suddenly have,

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Speaker 3: which which isn't The sideline isn't to the wiggles of

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Speaker 3: the conductor. The sideline is to is to the people

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Speaker 3: you're actually playing for. So I thought that was sort

425
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Speaker 3: of an important thing to do. And the other thing

426
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Speaker 3: was I wanted to take out I just wanted to

427
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Speaker 3: take out the images from the movie that the music

428
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Speaker 3: came from, because I wanted to see what would happen

429
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Speaker 3: if the music. Number one could stand on its own

430
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Speaker 3: to feet, and number two I wanted to give the

431
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Speaker 3: audience sort of an opportunity to have the experience of

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Speaker 3: making their own movie in their head.

433
00:26:17,440 --> 00:26:17,600
Speaker 4: You know.

434
00:26:20,119 --> 00:26:24,200
Speaker 3: It's I'm always interested. I'm always interested in the idea

435
00:26:24,320 --> 00:26:28,879
Speaker 3: that music automatically manipulates, you know, I'm always interested in

436
00:26:29,040 --> 00:26:34,120
Speaker 3: how can I not manipulate but just become an open

437
00:26:34,240 --> 00:26:37,359
Speaker 3: door that says, Okay, you can have an emotion, you

438
00:26:37,720 --> 00:26:40,480
Speaker 3: can go and feel something, you can have an experience.

439
00:26:40,800 --> 00:26:42,760
Speaker 3: But I'm not telling you what it's going to be.

440
00:26:43,359 --> 00:26:45,520
Speaker 3: It's it's going to be entirely up to you to

441
00:26:45,640 --> 00:26:49,680
Speaker 3: figure this one out. So that was very much, you know,

442
00:26:50,240 --> 00:26:51,520
Speaker 3: how the whole thing started.

443
00:26:52,240 --> 00:26:53,960
Speaker 2: Is there anything that you want to add we didn't

444
00:26:53,960 --> 00:26:54,920
Speaker 2: ask you about before?

445
00:26:54,960 --> 00:26:55,439
Speaker 3: You have to.

446
00:26:58,200 --> 00:27:00,320
Speaker 5: No, nothing from no, I don't say anything from me. No,

447
00:27:00,400 --> 00:27:04,400
Speaker 5: I mean no, it's uh yeah, it's just been a think.

448
00:27:05,080 --> 00:27:07,840
Speaker 3: I mean, you know, look here, at the end of

449
00:27:07,920 --> 00:27:11,960
Speaker 3: the day, I suppose I'm the artist, and all I

450
00:27:12,040 --> 00:27:15,959
Speaker 3: can say is thank you, Paul, mission accomplished. I mean

451
00:27:16,040 --> 00:27:21,119
Speaker 3: you you you did. You did what I think you

452
00:27:21,200 --> 00:27:24,560
Speaker 3: would do, but you did what ultimately I couldn't even imatch.

453
00:27:25,400 --> 00:27:26,760
Speaker 3: Oh man, thank you pretty much.

454
00:27:27,160 --> 00:27:30,360
Speaker 4: Nice, thanks, oh well, thank you guys so much.

455
00:27:30,480 --> 00:27:33,440
Speaker 2: And yeah, sorry, I feel like that just flew by.

456
00:27:34,200 --> 00:27:39,159
Speaker 3: It did, didn't it. I told you very very limited release.

457
00:27:39,280 --> 00:27:41,400
Speaker 3: You know, they won't even give you, give us time

458
00:27:41,480 --> 00:27:42,280
Speaker 3: to talk about it.

459
00:27:42,960 --> 00:27:45,280
Speaker 2: Well hopefully if it flew by for you then as well,

460
00:27:45,760 --> 00:27:48,160
Speaker 2: that means it wasn't as painful as other ones.

461
00:27:49,080 --> 00:27:52,320
Speaker 3: No, it's not, it's not. It's it's never It isn't painful.

462
00:27:53,520 --> 00:27:55,359
Speaker 3: The German model was painful this morning.

463
00:27:55,640 --> 00:28:00,240
Speaker 2: Cool, cool, Thank you guys again, have a good will

464
00:28:00,400 --> 00:28:01,000
Speaker 2: had listens.

465
00:28:01,200 --> 00:28:03,800
Speaker 3: Thank you, thanks, thank you great

466
00:28:20,359 --> 00:28:20,399
Speaker 1: H