Anne Imhof

And it was like also the shift when he closed his company, I started my first works in

It was like Dio back then and MoMA piece one in New York and I needed dancers.

And then the dancers of his were befriended with me and just lost their one job and like were interested in working with me.

And it was this shift that happened in this moment when I saw them on stage and thinking you're fucking superstars.

Why do you want to work with me?

There was like something happening there that really teach me a lot about where I'm now and what I know about dance and what I know about ballet and what I know about performance period.

It's interesting because I think writers that write film is like a special thing that I return to.

No, screenwriters.

Let's say like Bresson.

I love his films and how they are written and how the dialogue's written.

For example, in Jeanne d'Arc, the trials of Jeanne d'Arc is like a genius that he's like bringing the time and the writing together so that people that see his films know through some diary that is like...

the narrator speaks of the main character is predicting what you see.

And so the emotional response comes later.

I think this has a lot to do with what I'm doing right now.

But when you think of the writers that I quote in Doom, for example, there is Sylvia Plath or there's Lamontov and there's Pushkin, there's Rambo.

There's a lot of Russian writers that I'm drawn to, almost like it tears my heart out.

Kafka's maybe the one who I actually read the most.

I love his writing and his thoughts so much.

It's almost like I find it romantic, even though it's like seeing the world as it is in this way of...

seeing the desperation of human life and the beauty in that.