Anne Imhof

And I want to see like what a piece does like a couple of years if like, because they do different things at different times, and then it comes back and then

People say, oh, Faust is like dated because it's about social media or whatever, what was at this time in this moment.

But of course, it meant something completely different then and will mean something completely different in 10 years from now that I can't control.

And nobody, I think right now, can control where it's going with images and how fast they will move and what they will inform people.

And I think that when it comes to the music that I chose for Doom, it didn't want this moment to be one moment in the piece that is like the existential moment or whatever.

So I wanted it to be stretched over the whole duration of the piece.

So at the beginning was Bach and then it turned into Mahler's Sixth.

And Mahler was eight times slowed down.

And it was lying under the whole other music that came on top of it.

which was sometimes tricky because we had to strip the music away from the songs of the participating artists that were their songs and they agreed to it.

And it was interesting how the voices sounded on a Mahler band that made it possible for, for example, a young rapper and poet from Berlin to rap on that in, I think, in four different languages.

He raps in Wolof and like

english and french wall offices so it's main or one of the languages and he is like sitting on that as as if it's like meant to be and it was so beautiful to realize that mala's music has this effect that it can like wrap around a whole like story and it seems to be made for it is there a particular discipline in your daily working life that you see as an essential ritual

No, potentially it's like I'm training and that becomes... You mean physical training?

Yeah, yeah, because I have to because of the movement work and my body has to be a certain way to be able to do certain things.

Yeah, or be able to understand the body in a way, like how my body moves and then I understand it and then I can transfer it on the dancer.

I really can do like an arabesque or a pirouette like the ballet dancers can, right?

That's not happening, but it's...

It's like a way of moving that I have to kind of internalize into my body.

And I think it's strength too.