WEBVTT

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[music]

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-It’s always dangerous to
subject a piece of music,

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especially something that’s
a great piece of the musical

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literature to the opinion
of a choreographer,

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which is a completely
different thing from

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the opinion of a musician
or of a vocalist.

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-Wait a minute, wait minute.
Hold that right there.

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-What?

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-Why do you say that?

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-Because it’s easy to feel like I’m
committing a crime against music.

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-Mark--

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-It’s the simple thing of,
\"Here’s a fabulous piece of music,

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isn’t that enough?\"

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[music]

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-We could be belittled and say,
\"Okay, look, this music is so great,

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I shouldn’t even play
it because I can’t

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possibly make this as
great as this music is,

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so I might as well not do it.\"

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We could say the same thing about
you and say, \"Well, you know,

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this music is complete in itself,
why do you want to tamper with it?\"

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I think that what this music
is attempting to describe

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is something that can take
all of the imagination

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of lots of people put
together and still,

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it’s trying to describe something
that we can’t quite grasp.

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-Can we start?

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[snaps fingers]

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[music]

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-This is great.

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-Voilà.

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-Voilà.

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-Isn’t it great?

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-I love bards,
but this is a great one.

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This place has a special
feel for you anyway, right?

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-The whole place, every building
was built only for dancing.

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It was the first place
built only for dancing

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in the States and it
still is like that.

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It can convert to a theater
if it needs to or just

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a fabulous way out in the
woods rehearsal place.

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Why don’t you play some lowness?

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-All right.

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-I’ll go farther away to
hear what it sounds like.

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[music]

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[claps]

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-You like this note?

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-Yes. Bone conduction [?].

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-That sounds fabulous.

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-Of course it will.

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-It was resonating.
Mark, it sounds fabulous.

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-Fabulous.

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-Fabulous. Quinn, what do you think?

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[background noise]

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-Okay.
June, let’s see, you’re going to do

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side, back,
across, across, side, back, across,

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across,
side, then step into a tiny jeté.

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This has to travel.

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One, two, three, four, over my head,

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five, six, seven, eight, and one.

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Do that part, not here, [?].

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Turn, turn, don’t jump.
Just do this.

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Seven, two, three, eight, and turn,
turn, try pushing them forward,

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turn, turn, and--

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-What comes first for you?

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An idea? A movement?

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A piece of music?

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-Just that. [crosstalk]

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No. Music, always. Always, always.

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-What in music?

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Does music trigger something?

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-It’s something that I think

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it’s mostly a tone thing,
an ambient thing,

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a feeling that actually--
a deep feeling thing.

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-It’s a feeling.

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-It’s a feeling thing
that’s triggered musically.

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-What feelings are triggered
by the Third Suite?

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-This is kind of horrible,

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but I had something that
was almost like a dream.

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I’m telling the truth here,
where I couldn’t get to sleep,

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I don’t know if it was food
or jet lag or something,

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and I was starting to think about

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this piece and I saw
a horrible accident,

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which was one of my dancers had
a horrible fall down the stairs.

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It was like exactly, \"No, no, no.\"
Then a little trickle of blood.

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-Wow.

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-Isn’t that horrible?
I don’t know, that might be my dance.

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That’s why I don’t like to talk about
it because it might actually exist.

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-Oh, my god, I’m falling down steps.
Oh, my god.

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-That’s the whole idea.

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-I know.

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-If anyone can handle it,
I know you can, Ruth.

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-I had a dress like this and I
thought I was going to kill myself.

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-Is it because it’s
a little too long

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or is it because it’s way too long?

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-I don’t-- it was just ankle length.

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I also have a phobia
of steps since I had

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an accident when I was little
falling down steps. See?

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I’m just barely tripping.

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-You know what else I can
tell you-- I’m wondering,

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look because what I’m thinking is--
that looks beautiful, actually.

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-I can grab it.

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-I’m thinking there
will be two long ones

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like this and the rest
will be these dresses,

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and then there’s three of
them in blouses like this.

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Guillermo, do a little bit of
the beginning part of Sarabande.

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Go.

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[vocalizes]

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-Just for twisting this.

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Too long, too long, a little
too long. Here’s what we’ll do--

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-You get used to kicking it,
but I don’t

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want it to be about
only kicking the dress.

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-Exactly, I know, I know, I know.

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[music]

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-All right, ready? This is marking.

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I’ll give you two.
Here we go. Shut up. Dum-bum-bum.

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[snaps fingers]

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[music]

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Right here.
Okay, one more time, you guys.

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That’s right.

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A one, two, three,
two, and-- [snaps fingers] Good.

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[vocalizes]

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That’s good. The next thing is,
now five people for this.

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Wait, three, five, six.

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Ugh. Never mind. Fuck that.

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That would be next from there.

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Shit.

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Oh,

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how unfortunate.

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Go from the very beginning.

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You know what,
I know, I can actually do this.

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Shit.

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One of the things that I
see in this music is that

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you see a scale and
arpeggio in the beginning.

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[music]

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Then arpeggio.
In the middle, you have only-

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[music]

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-arpeggios. In the beginning-

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[music]

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-lots of scales, and then with-- I
actually see it as almost a puzzle

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of almost of a fight between
the scales and the arpeggios,

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both wanting to be all of it,

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and it gets somehow resolved

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in the end and you see
the beginning puzzle,

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the beginning kernel at the end.

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Does that make any visual sense?

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is that something that you
think is something that’s,

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\"The guy’s really nuts.
What’s you’re talking about?\"

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-I thought you meant
the guy is nuts,

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Bach,
you were talking about [crosstalk].

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-No, the reason I’m saying
this is because maybe

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Mr. Bach working here
might totally disagree.

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He said, \"Ah, yes, but this is
not what I was thinking about.\"

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[chuckles]

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-You missed totally, you’re way off.

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-Let’s say that’s one possible idea,
do you think well--

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-Well,
that’s part of my homework that I do,

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which is to figure out things like
that and then decide if I want them

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but the actual
representation of black

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dots on white paper done as dancing,
doesn’t work.

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It’s just like deciding which
rules one has to fall on.

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Of course, I feel compelled
to follow the rules of Bach,

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in making a piece to Bach,
whereas you don’t have to,

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you can also have a legitimate dance

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where Bach has
nothing to do with it,

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even though it’s taking
place in front of this music.

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-What are the chances,
do you think, if I hang around,

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that I could learn what
the choreography is,

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so that I could actually be

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influenced by the action on stage?

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-Well, that’s the point.
I think it’s a good idea.

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Let’s do the [?] one,
with everybody.

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Here we go.

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-Should I just start?

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-Yes, just start.

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[music]

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-The end.

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-Good.

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-[laughs]

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-Isn’t that cool?

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-That’s really great.

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-You know this and make this--

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-You got [vocalizes]. Is that right?

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Take this up higher. You look at
it a little bit from this, like

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[vocalizes].

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This is more up this way.

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-Bodies have to follow the
natural laws of gravity

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and so if somebody launches
themselves up in the air,

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you know the timing and the feel
it takes before they land again.

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That gives me a sense of
timing of what I have to do.

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-Let’s see, what should we do?

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I don’t know.

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-This is great,
I don’t need the music anymore.

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I just need to watch you guys
and it’s absolutely clear.

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It’s wonderful.

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-[crosstalk] break
your little heart.

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-It’s really great. [laughs]

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-Let’s do-- I know,

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we have something that we have
to do a little bit up here.

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-The Almand.

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-The Almand.

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-Almand.

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-Almand.

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-The rough movement.

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-Yes, right.

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-I’m trying to keep it versatile,
which is a hard thing to do because

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I usually close systems
off as I go along.

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The fact that this can change,

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like doing different run
throughs of what I’ve

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choreographed so far
with Yo-Yo in the room,

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and I can break it
down and adjust things,

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and he’s mercifully not a giant diva

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egomaniac irritant, he’s a doll,

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Frankly.

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-We’ll probably do
this a couple of times,

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just more accurate than violent.

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Here we go.

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[music]

00:15:55.620 --> 00:15:57.384
-[?] over.

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[music]

00:16:31.198 --> 00:16:34.453
-Really make this the forward
and back thing more-- It

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doesn’t even have to travel
as much as it has to lean,

00:16:36.840 --> 00:16:42.833
so it’s really 3D. All right?
It’s more Dr. Tounge. [laughter]

00:16:46.879 --> 00:16:49.104
-Like the 3D House Of Stewardesses.

00:16:51.074 --> 00:16:52.221
-[?]?

00:16:52.388 --> 00:16:54.638
-You don’t know that?
It’s a classic.

00:16:55.347 --> 00:16:57.315
-I’ll try and rent it.

00:16:58.297 --> 00:17:00.920
[laughter]

00:17:01.358 --> 00:17:02.953
-You’re here probably,

00:17:03.120 --> 00:17:08.186
on a plinth of some-- maybe
this high off the ground.

00:17:08.353 --> 00:17:10.677
My perspective isn’t my specialty.

00:17:11.119 --> 00:17:13.808
That’s you. All right? Yo-Yo.

00:17:14.573 --> 00:17:19.933
Opposite is the staircase,
like a Busby Berkeley staircase,

00:17:20.100 --> 00:17:21.600
something like this.

00:17:21.776 --> 00:17:22.979
-I like that.

00:17:23.420 --> 00:17:27.013
-Five or six steps, depending on how
long it takes to run up and down.

00:17:27.180 --> 00:17:32.298
Then I think over here is a ramp,

00:17:32.846 --> 00:17:34.663
an inclined plane,

00:17:34.830 --> 00:17:37.470
over here is an elliptical platform

00:17:37.680 --> 00:17:39.853
that’s just a few
inches off the ground.

00:17:40.020 --> 00:17:42.793
-I love the idea of the
very different shapes

00:17:42.960 --> 00:17:46.110
also because that goes
so well with the music.

00:17:46.800 --> 00:17:49.050
-It does to me too, I can’t say why.

00:17:49.890 --> 00:17:53.850
It just promotes the
idea of infinite variety.

00:17:54.506 --> 00:17:55.513
-Well, this, for example,

00:17:55.680 --> 00:17:58.680
was the first thing I
thought of as an [vocalizes].

00:17:59.809 --> 00:18:06.809
[music]

00:18:25.610 --> 00:18:29.477
-Now, show me what the
prelude might look like.

00:18:29.804 --> 00:18:30.485
-I can’t possibly.

00:18:30.652 --> 00:18:31.296
-You can’t? Okay.

00:18:31.463 --> 00:18:31.881
-No, because that--

00:18:32.048 --> 00:18:33.258
-[crosstalk] going to take place.

00:18:33.425 --> 00:18:37.380
-Probably everywhere
because what happens is,

00:18:37.740 --> 00:18:42.990
I divided this into 15
parts for 15 dancers

00:18:43.290 --> 00:18:48.060
and it turned out to be before
the final coda actually,

00:18:49.950 --> 00:18:52.980
that it works out to five bars each,

00:18:53.340 --> 00:18:57.120
and so I was in complete disregard
to the phrasing of the music,

00:18:57.330 --> 00:19:01.511
I’ve given each person five bars
and it’s in alphabetical order.

00:19:01.908 --> 00:19:04.096
When they’re not--

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-This is Bach, Cage, Morris.

00:19:06.000 --> 00:19:07.363
-Yes, basically.

00:19:08.238 --> 00:19:15.238
[music]

00:19:27.871 --> 00:19:29.178
Did you break the string?

00:19:29.345 --> 00:19:29.779
-Sorry.

00:19:29.946 --> 00:19:31.499
-We broke a string.
Oh, he broke a string.

00:19:31.666 --> 00:19:33.634
[chuckles]

00:19:33.964 --> 00:19:35.746
Yes, you broke a string.

00:19:36.731 --> 00:19:38.981
-One of the questions
that I had was,

00:19:39.750 --> 00:19:41.863
how was he going to take
a piece of music that’s

00:19:42.030 --> 00:19:45.570
already well made and
how can he add to it?

00:19:45.810 --> 00:19:47.743
I think the way that
he’s found is that

00:19:47.910 --> 00:19:50.293
he’s added a complete another layer

00:19:50.460 --> 00:19:53.203
on top of it that’s
completely his own

00:19:53.370 --> 00:19:59.623
and that’s related to the dancers,
having solos by alphabetical order,

00:19:59.790 --> 00:20:02.473
which only the Mark
Morris dance group knows,

00:20:02.640 --> 00:20:05.078
but having them do
five-measure phrases,

00:20:07.530 --> 00:20:09.223
because that’s what they were doing,

00:20:09.390 --> 00:20:13.317
it adds to the irregular and
the surprise element of what’s

00:20:13.484 --> 00:20:16.765
already in the music,
without just copying the music.

00:20:17.094 --> 00:20:18.773
-[vocalizes]

00:20:18.940 --> 00:20:22.326
[music]

00:20:22.765 --> 00:20:25.111
Okay? Let’s try that again.

00:20:26.097 --> 00:20:29.376
Two-- [?] Two, three.

00:20:30.038 --> 00:20:37.038
[music]

00:20:42.492 --> 00:20:43.808
-Okay? Can you hear that?

00:20:43.975 --> 00:20:44.354
-Yes.

00:20:44.521 --> 00:20:46.545
-So it goes, [vocalizes]

00:20:48.705 --> 00:20:55.705
[music]

00:21:13.576 --> 00:21:15.594
[finger snapping]

00:21:15.923 --> 00:21:19.226
-[vocalizes].

00:21:19.987 --> 00:21:21.727
Pretend you’re playing it, Rachel.

00:21:21.894 --> 00:21:24.055
[music]

00:21:24.222 --> 00:21:28.153
Wiggle, wiggle, stop.
Right. Okay, good. Yes.

00:21:28.320 --> 00:21:32.443
You know, it’s cool that there’s like
a little tiny breath before that,

00:21:32.610 --> 00:21:34.772
which you do, basically.
Where are we?

00:21:34.939 --> 00:21:36.133
Into here.

00:21:36.300 --> 00:21:39.929
[vocalizes].
[music] If I could just--

00:21:40.472 --> 00:21:45.244
Is that all right? Is that a crime
against art to do that? [laughter]

00:21:45.526 --> 00:21:48.285
I mean, for me to request that,
of course. Okay--

00:21:48.452 --> 00:21:51.110
-Mark, I am your slave.
I’ll do anything you want.

00:21:51.277 --> 00:21:53.062
-Anything? [background conversation]

00:21:53.229 --> 00:21:58.633
-Mark, I won’t do anything-- Okay,
sorry, but there are limits.

00:21:58.800 --> 00:22:00.793
-Let’s try it at the real tempo,
one, and two, and three,

00:22:00.960 --> 00:22:03.270
and-- [vocalizes]-- all right.
[laughter]

00:22:03.437 --> 00:22:05.064
-That’s not the thing to say, right?

00:22:05.231 --> 00:22:09.258
-It could be. [laughter]

00:22:09.913 --> 00:22:11.773
-From 35 again.

00:22:13.182 --> 00:22:17.257
-Mark,
the hope that I had was that we would

00:22:17.424 --> 00:22:19.993
take the essence of what is in that

00:22:20.160 --> 00:22:22.783
music and we’d make
something wonderful

00:22:22.950 --> 00:22:23.879
that refers back to the music [?].

00:22:24.046 --> 00:22:27.226
-Well, I think music is more
interesting than dancing,

00:22:27.745 --> 00:22:31.950
so that’s why I choose to
work through music this way.

00:22:32.280 --> 00:22:37.513
-I think you’ve really taken the
essence and made it the same thing,

00:22:37.680 --> 00:22:40.350
except in a slightly
different medium.

00:22:40.680 --> 00:22:44.190
-Well, I’ve figured that dancing

00:22:44.357 --> 00:22:47.730
should allow people
to hear the music,

00:22:48.060 --> 00:22:49.704
instead of, you know, not.
You know what I mean?

00:22:49.871 --> 00:22:50.247
-Uh-huh.

00:22:50.414 --> 00:22:54.013
-I don’t want to screw it up.

00:22:54.180 --> 00:22:57.133
I don’t want to obfuscate
the music through dancing,

00:22:57.300 --> 00:23:00.073
so I choose to do the opposite,
which is why I have to know what I’m

00:23:00.240 --> 00:23:01.933
talking about when
it comes to music,

00:23:02.100 --> 00:23:06.580
so I don’t have some diva
soloist bullying me about.

00:23:07.428 --> 00:23:08.494
-What a horrible thought.
[crosstalk]

00:23:08.661 --> 00:23:11.672
-I meant conductor, of course.
That’s right. [chuckles]

00:23:11.839 --> 00:23:18.839
[music]

00:23:19.673 --> 00:23:21.168
-See this is-no this is fab--

00:23:21.335 --> 00:23:21.835
-Oh, sorry.

00:23:22.002 --> 00:23:24.392
-This is fabulously [?]
if that’s-- That can--

00:23:24.559 --> 00:23:27.363
[music] [vocalizes]

00:23:27.530 --> 00:23:31.005
Yes. It’s this that it’s hard for me
to tell what’s happening, that’s all.

00:23:31.172 --> 00:23:35.576
[music]

00:23:35.904 --> 00:23:41.391
-Yes, right. It’s from the D into the
C that it’s harder to read something.

00:23:41.558 --> 00:23:43.141
[music]

00:23:43.308 --> 00:23:47.728
That down beat right there. Yes.

00:23:48.609 --> 00:23:49.734
[snaps fingers]

00:23:50.064 --> 00:23:57.057
[music]

00:24:23.142 --> 00:24:29.023
-You see, it’s really unusual to
have people where you are recording,

00:24:29.190 --> 00:24:31.393
unless you’re doing a live
recording and what’s really

00:24:31.560 --> 00:24:35.302
great is that you guys are my music

00:24:36.063 --> 00:24:39.330
and you’re my ears, in a way,

00:24:39.510 --> 00:24:40.813
and you’re making me
do things that I’m

00:24:40.980 --> 00:24:44.077
supposedly-- There’s a lot of-
as you said, it’s a-[crosstalk]

00:24:44.244 --> 00:24:44.749
-A circle.

00:24:44.916 --> 00:24:46.595
-Interactive, right?

00:24:46.762 --> 00:24:48.489
-A cycle, yes.

00:24:49.144 --> 00:24:50.310
-I love cycles.

00:24:51.630 --> 00:24:53.150
-All right.
Everything has gone away now.

00:24:53.317 --> 00:24:53.842
-True.

00:24:54.009 --> 00:24:56.443
-There’s only one thing-well, there
are two things left, instead of four.

00:24:56.610 --> 00:24:57.610
We have you.

00:24:57.780 --> 00:24:58.676
-I’m still here.

00:24:58.843 --> 00:24:59.976
-Right? This is you.

00:25:00.143 --> 00:25:00.771
-Yes.

00:25:00.938 --> 00:25:03.823
-Then, the only thing left
is the stairway at this end

00:25:03.990 --> 00:25:06.932
that has now been modified
sort of on the diagonal, so--

00:25:07.099 --> 00:25:12.441
[hums] Floor.

00:25:12.608 --> 00:25:13.698
-Right.

00:25:14.027 --> 00:25:16.663
-So, C-D-D-D-D-C, and that’s it.

00:25:16.830 --> 00:25:20.353
The whole thing goes out this way,
and these just don’t exist anymore,

00:25:20.520 --> 00:25:23.443
and underneath, let’s see,
because this is actually planks,

00:25:23.610 --> 00:25:27.510
it’s not a solid thing. It’s wooden
planks, which I can’t do here.

00:25:28.080 --> 00:25:30.943
We see the supports underneath,
and so this can be lit,

00:25:31.110 --> 00:25:32.802
and a lot of [?] is going
down this way. [crosstalk]

00:25:32.969 --> 00:25:34.481
-It’s going to be lit
outside or inside?

00:25:34.648 --> 00:25:37.523
-Both. Light comes through
and stuff like that.

00:25:38.363 --> 00:25:40.254
-Remember the nightmare you had-

00:25:40.421 --> 00:25:40.866
-Yes, that’s there.

00:25:41.033 --> 00:25:41.330
--at the very beginning?

00:25:41.497 --> 00:25:41.940
-It’s there.

00:25:42.107 --> 00:25:43.159
-It’s there?
Falling down the stairs. [crosstalk]

00:25:43.326 --> 00:25:45.128
-Everybody falls down the stairs.

00:25:45.295 --> 00:25:48.146
[chuckles]

00:25:48.581 --> 00:25:55.581
[background noise]

00:27:01.562 --> 00:27:08.562
[music]

00:27:20.790 --> 00:27:22.108
-I’m suppose to be in this, right?

00:27:22.275 --> 00:27:22.693
-Right.

00:27:22.860 --> 00:27:26.623
-Why? I mean,
I could just be playing at some place

00:27:26.790 --> 00:27:27.943
else or not within-- [crosstalk]

00:27:28.110 --> 00:27:29.724
-It’d be easier, probably.

00:27:29.891 --> 00:27:30.229
-Yes.

00:27:30.396 --> 00:27:30.731
-But--

00:27:30.898 --> 00:27:32.294
-So, why am I on this plinth?

00:27:32.461 --> 00:27:35.336
-Well, because I want it
to be a closed system.

00:27:35.556 --> 00:27:36.081
-A closed system.

00:27:36.248 --> 00:27:38.623
-I mean, first of all,
you have to be playing there.

00:27:38.790 --> 00:27:41.113
You have to be playing
in the room because

00:27:41.280 --> 00:27:42.507
that’s how the dance
is supposed to happen.

00:27:42.674 --> 00:27:45.703
-Right,
but am I in some way integrated?

00:27:45.870 --> 00:27:48.540
-So that it’s stairs,
and you, and us.

00:27:48.817 --> 00:27:51.283
-So I’m like the stairs.
I’m the opposite of the stairs.

00:27:51.450 --> 00:27:52.935
-Yes, you have the same
gravity as the stairs.

00:27:53.102 --> 00:27:56.069
-Right. Except the light
doesn’t come from inside.

00:27:56.236 --> 00:27:59.680
-Well, maybe in the future if you
practice everyday, that will happen.

00:27:59.847 --> 00:28:02.518
-[laughs] I open my mouth,
[crosstalk]

00:28:02.685 --> 00:28:03.661
-You won’t even have
to touch-[crosstalk]

00:28:03.828 --> 00:28:05.244
--suddenly you see that glowing.
[laughs]

00:28:05.411 --> 00:28:07.664
--touch bow to string.

00:28:08.216 --> 00:28:12.177
-All your programs are dedicated

00:28:12.722 --> 00:28:15.955
or with thanks to Maxine and god,
right?

00:28:16.122 --> 00:28:20.760
-Yes. Well, because Maxine is my
mother and that’s self-explanatory

00:28:22.020 --> 00:28:26.679
and the god thing is a giant sense

00:28:27.112 --> 00:28:31.890
of rightness, of absoluteness.

00:28:32.730 --> 00:28:34.333
I don’t mean the beard and stuff.

00:28:34.500 --> 00:28:35.623
I don’t mean stained glass windows.

00:28:35.790 --> 00:28:37.513
-Do you mean a certain
kind of sacredness?

00:28:37.680 --> 00:28:41.013
-Yes.
I certain sort of seriousness and,

00:28:42.112 --> 00:28:44.002
I don’t know,
completion-[crosstalk]

00:28:44.169 --> 00:28:46.162
-Do you feel that with all
the pieces-[crosstalk]

00:28:46.329 --> 00:28:46.783
-Spiritual completion.

00:28:46.950 --> 00:28:48.100
--spiritual completion,

00:28:48.267 --> 00:28:52.392
that every piece that you do
strives towards that goal?

00:28:52.559 --> 00:28:56.680
-Sure. Yes. They’re different
points of view, but yes, absolutely.

00:28:56.847 --> 00:28:57.847
-Yes.

00:28:58.795 --> 00:29:03.771
[music]

00:29:04.321 --> 00:29:06.902
-[sings] I go out walking.

00:29:07.828 --> 00:29:11.463
-[sings] Midnight.
Out in the-- Sorry.

00:29:11.630 --> 00:29:13.122
[laughs] [?]

00:29:13.289 --> 00:29:16.467
-It’s right there.

00:29:16.634 --> 00:29:18.314
-Oh, yes. It’s right here.

00:29:19.912 --> 00:29:21.814
Was that horrible [?]?

00:29:23.780 --> 00:29:30.780
[music]

00:29:57.699 --> 00:29:59.555
[laughter]

00:29:59.757 --> 00:30:06.757
[background conversation]

00:30:42.131 --> 00:30:44.215
I can do some markers.

00:30:45.850 --> 00:30:52.850
[music]

00:30:59.081 --> 00:31:00.791
-Let me see your face.

00:31:00.958 --> 00:31:02.684
[background conversation]

00:31:02.851 --> 00:31:07.800
-It’s a face. As faces go.

00:31:10.650 --> 00:31:14.280
-Do you have any doubts about
our doing this together?

00:31:15.361 --> 00:31:17.023
-Well, absolutely.

00:31:17.190 --> 00:31:22.740
In the notion that we’re laying more
opinions onto what already exists.

00:31:23.670 --> 00:31:26.023
The liberating part is that we don’t

00:31:26.190 --> 00:31:28.063
actually have to
agree on everything.

00:31:28.230 --> 00:31:31.003
We don’t have to agree about an
exact point of view with this music,

00:31:31.170 --> 00:31:34.213
but if we’re relatively honest,
something may happen.

00:31:34.380 --> 00:31:37.003
That’s not a horrible crime.
You know what I’m saying?

00:31:37.170 --> 00:31:39.299
-That’s the best thing
that you hope for?

00:31:39.466 --> 00:31:41.221
-That’s the worst
thing I would hope for.

00:31:41.388 --> 00:31:42.989
-What’s the best thing
that you hope for?

00:31:43.156 --> 00:31:48.799
-The best thing is of course, an
absolute transcendent, transparent,

00:31:49.660 --> 00:31:55.743
transmogrifying situation, where
it gets bigger than all of that.

00:32:02.218 --> 00:32:03.643
-Positions, please.

00:32:08.255 --> 00:32:15.255
[background conversations]

00:32:27.308 --> 00:32:34.308
[music]

00:39:18.704 --> 00:39:25.704
[music]

00:42:19.437 --> 00:42:26.437
[music]

00:53:28.834 --> 00:53:35.834
[background conversation]