Anne Imhof

Like I learned a lot from that.

I think he manipulates people into a certain moment of gravity that the image then follows, even though it's like a bird like flying and you think that you see so many birds flying, right?

Some people even have gifts that are like birds flying and they let them just go, like waste them away.

Because there are so many of them.

But in Tarkovsky's movie, it becomes this like almost like metaphysical experience.

And Bach can do this in some way because the chord progressions are, I guess, so ancient that they are like in so many pop songs.

And Mahler as well.

There's something about why I use those two composers in Doom that is because they do that with me.

With Mahler, I can listen to...

Mahler, very different than, for example, with Mozart or Mozart's Requiem that I had this phase before.

Actually, the piece you mentioned in the beginning, Sax, that I only listened to that album for a year.

It's like the recording of Corinthians.

It's Mozart's Requiem, but it's so fast and so loaded that it always put me in the right place.

moment in my head to think about that piece, sax, that I showed at the Tate Modern.

And in the end, I was like, what would have happened if I just would have taken this music and made the piece to this music, all the movements?

I'm almost like inclined to do it again and put the other music to it.

But then, yeah, that would be like a first for sure, doing a piece again.

I'm really excited about this future in front of me that I'm going to make a piece that I can do again and that becomes a repertoire because I'm too sad that this is like kind of this...

Wasting away like moments that other people could see.

And I almost find it a bit too exclusive, like saying, okay, this is happening only that moment, that time.