Tilda Swinton (as Martha)

So I'm asking it again. What do you think? in terms of those three experiences, what did the art manage to do for you?

suggest that what art does, first of all, it offers us an opportunity to be quiet and to be still. And not necessarily to go inward, but to allow in that gesture of stillness for the sort of reverberation of whatever we're witnessing to a connection to form. So, for example, again, sorry to use the example of your three, your triptych of experiences around this material. Yeah, please.

suggest that what art does, first of all, it offers us an opportunity to be quiet and to be still. And not necessarily to go inward, but to allow in that gesture of stillness for the sort of reverberation of whatever we're witnessing to a connection to form. So, for example, again, sorry to use the example of your three, your triptych of experiences around this material. Yeah, please.

Your experience with your mother, not to be reductive, was lived. And I imagine, I don't want to take any liberties here, but it's such a car crash, that experience. One's so in it and one doesn't know what one's doing, but one's in it and it's happening and it's crashing over your head and you're just staying alive and surviving it. I'm sorry if that doesn't sound representative.

Your experience with your mother, not to be reductive, was lived. And I imagine, I don't want to take any liberties here, but it's such a car crash, that experience. One's so in it and one doesn't know what one's doing, but one's in it and it's happening and it's crashing over your head and you're just staying alive and surviving it. I'm sorry if that doesn't sound representative.

Slow motion car crash. Yeah, it's so true. But still, point being, there's nothing you can do. So that's an encounter with helplessness, right? The actual lived experience is an encounter with helplessness and trying to survive it. How can I bear this helplessness, this powerlessness? And then you do.

Slow motion car crash. Yeah, it's so true. But still, point being, there's nothing you can do. So that's an encounter with helplessness, right? The actual lived experience is an encounter with helplessness and trying to survive it. How can I bear this helplessness, this powerlessness? And then you do.

And then your conversation with the doctor, again, I'm imagining, I'm making this up now, but I imagine was intellectually very stimulating. You were talking about ideas. And then when you're sitting in the dark and you're watching a film... Here is an opportunity for you to look on something being played out in front of you. And you're seeing us playing it out in front of you.

And then your conversation with the doctor, again, I'm imagining, I'm making this up now, but I imagine was intellectually very stimulating. You were talking about ideas. And then when you're sitting in the dark and you're watching a film... Here is an opportunity for you to look on something being played out in front of you. And you're seeing us playing it out in front of you.

There's levels of distance which are very soothing to the nervous system. So you're not taken back into the id state. You're able to observe, rather like in a meditation state. And then... you can make these connections. I think the sort of superpower that art has is this distance that it affords us, this capacity to be still and to allow these resonances to arise from inside.

There's levels of distance which are very soothing to the nervous system. So you're not taken back into the id state. You're able to observe, rather like in a meditation state. And then... you can make these connections. I think the sort of superpower that art has is this distance that it affords us, this capacity to be still and to allow these resonances to arise from inside.

So I think that we may encounter new thinking when we encounter art, but In order for it to really start to grow, it needs to connect with something inside you.

So I think that we may encounter new thinking when we encounter art, but In order for it to really start to grow, it needs to connect with something inside you.

And in the instance that you describe of your triptych experience, I think it's a great palate cleanser to go through a traumatic experience, to see it played out in the safe environment of, I hope, a movie theater in the dark with strangers.

And in the instance that you describe of your triptych experience, I think it's a great palate cleanser to go through a traumatic experience, to see it played out in the safe environment of, I hope, a movie theater in the dark with strangers.

With a lot of Diet Coke and as many M&Ms as you can crunch into the carpet afterwards. That is the optimal experience. And that's when the connections do get made. So I agree with you.

With a lot of Diet Coke and as many M&Ms as you can crunch into the carpet afterwards. That is the optimal experience. And that's when the connections do get made. So I agree with you.

I'm liking everything you're saying, and I'm surfing the wave of it. It's not a ramble at all. It's great. It's so interesting, all of this, because I think what I feel like asking in response to your question or your remarks is, why do we have to choose? I mean, the real question is, who are we and how must we live? It's about the living.

I'm liking everything you're saying, and I'm surfing the wave of it. It's not a ramble at all. It's great. It's so interesting, all of this, because I think what I feel like asking in response to your question or your remarks is, why do we have to choose? I mean, the real question is, who are we and how must we live? It's about the living.

The living is the most important thing and in many ways the only thing. And I don't necessarily want to designate one thing as political activism and another thing as artistic practice and another thing as living your life. I mean, for me, there ain't no walls between any of them.