00:00:03.240 - 00:00:21.060

Unknown: Good evening. Good evening, everyone. Sorry to interrupt your dinner. I hope it won't be an interruption, but I don't think I'm loud enough. Hello, hello. Hello. Good evening, everyone. I'm Marin alpha. and nice to see you all

00:00:21.060 - 00:00:43.440

here. Thank you. Thanks. I'll introduce my two. But first, I wanted to welcome you to another wonderful Cabrillo Music Festival. I'm very, very excited as always, and I think we have a spectacular lineup for you beginning with this evening's

00:00:43.770 - 00:00:59.370

performance, which is it's really um, it's almost indescribable, I read some articles calling it an opera. But that never even occurred to me. So I'm thinking of it more as an experience. But maybe that's what you're used to here.

00:00:59.370 - 00:01:16.950

Now. This is a piece that I I originally played in, when it was premiered in the United States in 1983, at the Brooklyn Academy of Music. And it's a very long story, which I won't tell you now. But if you ever want to know this is the piece

00:01:16.950 - 00:01:28.710

that made me realize I didn't want to be a freelance violinist having absolutely nothing to do with the music. Let me tell you that much. But obviously, now I have to tell you a little bit about it just Well, I'll just tell you one second about it.

00:01:28.710 - 00:01:45.240

Because you'll notice, I don't play except for for about 10 minutes in the very middle of the piece. And I was trying to jam in too many gigs. You know, so my swing dam was playing in Manhattan. And then I would drive to the Brooklyn Academy

00:01:45.450 - 00:02:02.310

and play my 10 minutes in between sets. And a few things went wrong on the bridge. And it was a very long evening, which I thought I would never recover from. So that's that's your tantalizing little tidbit about it. But I gave my car away to

00:02:02.310 - 00:02:18.120

some very nice fellows on the bridge. And they even brought it back to me. So it was an amazing evening. But I thought I've thought of the piece many times in that context, but not too often. Because I had never heard of it being performed again

00:02:18.150 - 00:02:32.010

after its run at the Brooklyn Academy. And in thinking about doing the festival this year, I did it must be something in the air or the water because as as I decided, I'd like to do a big work by Philip Glass. Then I read that maybe they're just all

00:02:32.010 - 00:02:48.180

copying me that Lincoln Center festival is devoting its summer festival to Philip Glass. So it happens every single year. I don't know what it is, it must be we all get the same, the same karma at the same moment. And any case, I thought this would

00:02:48.180 - 00:03:02.610

be a great piece because it has never been done. Certainly not done on the west coast. And we could barely figure out if it had been done since its premiere. But of course that involves a lot of difficulties unto itself. Since it's not just

00:03:02.610 - 00:03:22.770

a musical experience. It's it's a an experience in three parts. The first part is a play. The second part is music with with images, picture images. And the third part is basically a dance. But with picture images, music and parts of the play interwoven

00:03:23.520 - 00:03:42.000

it the subject matter is a gentleman named Edward Muybridge, who they think yes, maybe maybe not invented in motion pictures. But he's a little bit better known for having murdered the lover of his wife and gotten acquitted. You

00:03:42.000 - 00:04:01.500

know, that's sort of the rage these days, too. Anyway. So the first part, the play deals with deals with the trial and his subsequent acquittal, and the issues of he realized that maybe his first trial wasn't his. And that's how he came to the

00:04:01.530 - 00:04:17.160

realization that she had been having an affair. In any case, I decided to that would be great to put this whole piece together. And I turned to Mike's girl who did such a beautiful job last year with the tender land. And he was also willing to

00:04:17.160 - 00:04:32.160

come back for very cheap, no, just kidding. He said, his parting words last summer where, you know, I drop anything to come back to the festival. It was such a great experience. And so he had to drop several things. And he did, indeed

00:04:32.220 - 00:04:45.390

agreed to join us and but when I sort of threw this at you, there was nothing we tried to find the original production, you know if the did they have an archival tape? No. What were the photographs they use? nobody seemed to know. We couldn't

00:04:45.390 - 00:04:58.680

figure out who had done the choreography. I mean, they didn't have any of the pieces together. So we had to really reinvent this from scratch, I'd say it was it was a huge challenge because there really wasn't a

00:04:58.680 - 00:05:12.120

lot to draw on. Particularly the The first act for me was the biggest challenge, because it's this rather complicated, convoluted abstract script that in 1980, you know, if you'd leave the theater and not understanding it, it made the

00:05:12.120 - 00:05:28.290

production that much greater. And I was determined not to do that this time around. But I had the privilege of meeting Philip Glass in New York before coming out here, and sat with him for about half an hour, and tried to get some advice on what to do

00:05:28.290 - 00:05:41.850

with the piece, particularly the first act, because he's, he, about two years ago, wrote new music to be used for production that they did in Germany about, you know, a couple years ago. And I figured, you know, he could tell me, you know, where

00:05:41.850 - 00:05:54.900

the music goes, and what the order is, and how it fits in with the script. And all I got was, go ahead and do whatever you want with it. So it was I mean, it was, it was a very freeing experience, because it gave us the opportunity to, you

00:05:54.900 - 00:06:06.510

know, make our own version of the first act. But at the same time, it put a huge responsibility on all of our shoulders, to make something really work. And I was determined to use all of the music that he's written for the

00:06:06.510 - 00:06:18.060

show, from the original score from when he wrote it, I guess it was the early 80s. And the new music that he wrote a couple of years ago, when we've accomplished that every note that he's written for the scores are also two different

00:06:18.060 - 00:06:30.000

scripts right to choose from, because this isn't the play. This wasn't the script that was used when I did the US premiere the production is that one I didn't understand at all, at least this one I kind of get Yeah,

00:06:30.030 - 00:06:41.400

yeah, there were two scripts. But Philip was was very clear with us that he really wanted the original script use, it was the one that he was he was more happy with. So that's the one that we used for this production here.

00:06:41.880 - 00:06:55.230

And then also, let me introduce, you may already know, Maria basil, who's our choreographer, and the dance plays a huge role in this and how did you approach it? I mean, did you talk to Michael and then decide on the concept or Yeah, we

00:06:55.230 - 00:07:04.290

had a concept to begin with, definitely. And we threw out some ideas. And one of the ideas Michael throughout work was, well, I think I want all the actors in the dance to and then I thought,

00:07:05.340 - 00:07:18.990

Oh, no. So I had to create innovatively How is going to involve the actors in the dassie, without really having them do the dance, so to speak. So you'll see a very interactive third section of the piece.

00:07:19.650 - 00:07:37.230

And then, of course, I have forgotten that. When we recorded the we did a CD of it. And I used to, I played violin with Philips ensemble for a while. And we used to record things in sort of by sampling them. And it was a little bit you know, sort

00:07:37.230 - 00:07:52.590

of under the table kind of recording and, you know, one violin could make 16 violins. And so I was usually that one violin, and then I remembered suddenly, only recently, unfortunately, that the way we had recorded the last movement,

00:07:52.590 - 00:08:07.230

the act third act, which is what the dance was, because it's not really playable in the tempo that he wanted was that I would play two bars, and then we would loop them. And then I would play another two bars in order to be able to keep up the pace and you

00:08:07.230 - 00:08:23.910

know, not have my arm break off. But then, of course, I realized suddenly that Maria had been choreographing to the CD, which really was almost unplayable at the speed that we had recorded it because of what we did editing wise. So we've had to

00:08:24.180 - 00:08:37.050

make a few adjustments. And if you, if you look at the orchestra in the third act, you may not because it's so visually stimulating, but the the orchestra and the orchestra has to of course, but what we're doing is they're alternating

00:08:37.050 - 00:08:48.210

playing a few bars each. So you know, you'll see them stop and start and stop and start but that's about the only way that it's possible to get it even close to the speed that you really want the speed

00:08:48.210 - 00:09:00.510

that we were used to like a week ago and hadn't changed this week. So we're like, well, should we cut or should we add movement? Huh? Which one should we do so we opted not to cut so you're gonna hear the entire piece which is every day It

00:09:00.510 - 00:09:16.050

seems to get faster and we had some they're getting more we had some cookies last night that seemed to really perk it up quite a bit incentive it works all the time. And we should also mentioned that the there's a beautiful video that goes

00:09:16.050 - 00:09:33.570

throughout the work and that was done by Suzanne St. JOHN and she had to also go back what happened with Muybridge was when he met Stanford, the governor of California Stanford set knew he was a photographer he Muybridge was born in Britain and came to

00:09:33.570 - 00:09:50.670

the US in the middle of the 1800s. And he was quite well known for his photography of the West. And Stanford said, you know, they were having the problem they had a big bet on about whether all four of the horses who's come off the ground

00:09:50.820 - 00:10:09.210

when it's running and could Muybridge help them settle this bet. So he set up cameras on the racetrack and the Horses as they pass would trip the lens so it would shoot. And so he got these consecutive very, very fast shots of the horse in motion.

00:10:09.510 - 00:10:28.260

And I won't tell you the answer, of course, but and so the, but this led him to try to explore all kinds of motion. He's really the first person to document human motion. And once you see the some of the video images, you'll you'll recognize his work

00:10:28.260 - 00:10:43.770

right away even if you think you don't know it. It's sort of part of our culture now and our existence. And they're really amazing, amazing images. And I'm wondering how much the photography and these images influenced both of you. In your

00:10:43.770 - 00:10:54.210

work? Did they did that have a lot to do with it? Oh, no, absolutely, certainly. Yeah. Well, we started this project some seven months ago. And I think we just spent the first couple of months going through

00:10:54.210 - 00:11:09.480

literally 1000s and 1000s of photos, to pick which ones that we wanted to actually use on the show. And it was very important to me that they became an integral part of the show and, and joining that up with the movement, there, there are a

00:11:09.480 - 00:11:24.510

couple of sections in the show where we actually physicalize the plates, that Moy bridge talk. And we're has done an amazing job with that. And the dancers, they're incredible. Pictures coming to life, basically. Right there on stage,

00:11:24.840 - 00:11:37.290

we were also incredibly fortunate. Suzanne, who does, who did the big video presentation on the second act, and also the video work in the third act actually got commissioned to go into the vaults of the Sanford library,

00:11:37.560 - 00:11:48.930

and saw plates that Muybridge took that nobody has seen in years and years and years. And she got permission to photograph them. And they're they're actually some of the those images that are up on the screen tonight that aren't even in some

00:11:48.930 - 00:11:59.190

of the more bridge books. So yeah, it's it's really, it's beautiful. And we have a really fantastic set, which was designed by Matthew, Matthew, and tacky

00:11:59.220 - 00:12:13.170

and tacky who's sitting over there. There's Matthew, and I'm wondering what kind of I'm sure you spoke with Matthew about the set design? And how did that come about? Well, one of the things that I started doing my research on

00:12:13.170 - 00:12:24.240

Muybridge was that every single time he did something he always in some way or another was being judged. And then of course, there was the whole incident of him shooting his wife's lover. incident, you see, yeah,

00:12:24.900 - 00:12:42.300

just you know, it actually only lasted a few months, and the jury came actually came back with a verdict and 12 hours. So go frontier justice. But because of the fact that I felt so much of his life, was being judged by other people. I spoken to

00:12:42.300 - 00:12:57.000

Matthew about the possibility of getting the feel of sort of a courtroom setting so that it makes a lot of sense for when we're actually dealing with the trial. But we've also used it in rather imaginative ways to just kind of view more bridges life

00:12:57.180 - 00:13:08.010

always being on trial. And the costumes to which are terrific that that's sort of a combination of the period. You wanted to set it in the time that it happened.

00:13:08.160 - 00:13:22.350

We wanted we wanted a semblance of the time, it's it for me was, you know, very much a timeless story. And Matthew and I agreed right from the beginning that we wanted to give the impression of the time period without being overly specific. So the costumes

00:13:22.350 - 00:13:32.550

are sort of Victorian and feel but they've got just a little bit of a twist to them. And, and Tessa Crocker, who is our costume designer did an absolutely beautiful job with them. They're really wonderful.

00:13:33.900 - 00:13:53.220

I think it's certainly unlike anything you will ever see. And I'm really, I think that they've done a fabulous job. I can't thank my team. Enough. And there's also some wonderful singing by several singers from the San Francisco area who put

00:13:53.220 - 00:14:10.980

together a group for this specific production. And, you know, feel glasses. When you're listening. musically. It's quite hypnotic. But when you're playing, it's quite hysterical. Because it's, it's very, very difficult. And the vocal lines,

00:14:10.980 - 00:14:24.840

even though they sound quite easy, they're extremely challenging, because it's so repetitive, that it's very, very hard to sustain that. And it's an amazing growth spurt, I think just from listening to the orchestra play the first time,

00:14:25.170 - 00:14:37.410

until the second night. I mean, it was an amazing change right away. Because if you really have to, it's a different kind of mental state, you have to get into you have to let go, you know, you have to give over to the fact that you're actually

00:14:37.410 - 00:14:49.470

going to do this. And I think there's a resistance at first because it's so difficult. It's almost like running a marathon and they say don't they say the first few miles that you think I'm just not going to be doing this at all? And then so you get

00:14:49.470 - 00:15:03.210

into it, and then you're going, you're going and then where's it mile 24? Is that where it happened? So toward the end, it's really interesting though, it's the same kind of thing that I feel with the orchestra. You know, by About 1/8 from the end,

00:15:03.390 - 00:15:17.940

there's sort of this general sense of unrest in and then we sort of get over that and make it to the end. But it's really a tour de force in some ways for the orchestra. And hopefully, if you don't notice that it's we've been terribly successful at it.

00:15:18.480 - 00:15:27.930

You know, one thing Marian said to me the other day, or, or just in our conversation, she was saying, well, the orchestra orchestra can only play at once. The orchestra can play it one and a

00:15:27.930 - 00:15:38.280

half times the the singers can only do it once. And the dancers basically can only do it once and then they're, they're done. Right? So we'll only be doing the show wants to, we've decided,

00:15:38.790 - 00:15:51.300

although we did do it twice the other night. I just want you to know we needed to do it twice. We did do twice. That's right. And, and it'll be we'll perform it continuously so there won't be an intermission. And I think

00:15:51.300 - 00:16:09.450

that's an important for the flow of the piece as well. The just before I let you all go to get ready and enjoy the evenings performance. I wanted to mention the concert tomorrow night as well, which is couldn't be more more opposite, I think,

00:16:09.450 - 00:16:24.720

musically from Philip Glass's work. The concert tomorrow night is three pieces that are so incredibly rhythmic and driven in a completely different way. We're starting off with a piece by a new composer to the festival, Jennifer Higdon, who's

00:16:24.720 - 00:16:40.800

from Philadelphia, she'll be here. It's a fanfare with tons of percussion, very, very rhythmic. And that's followed by john adams piece called fearful symmetries, which is a constant constant pulsating changing is sort of like big band swing

00:16:40.800 - 00:16:57.360

meets symphonic orchestra with lots of synthesizers, and then we're closing the concert with a piece by someone that I hope you know and love by now. Chris Rouse his violin concerto which is being played by our concert master Umi Wong, and absolutely

00:16:57.360 - 00:17:11.940

spectacular piece, I think one of the great pieces, certainly of the century, if not of all time, and I feel confident saying that. So I hope you'll join us for sort of, I wouldn't call it well I'm not exactly sure how to it's sort of the

00:17:11.940 - 00:17:24.180

complement to the Philip Glass musical experience tomorrow night and thank you so much everyone who's been involved in the project it's been very very special. Hope you enjoy the evening and I look forward to seeing you all during the

00:17:24.180 - 00:18:08.550

festival. Thank you. Scary Are you guys ready? Should we start right? by yourself

00:18:10.050 - 00:18:42.240

which is super unique. Okay. Many major reports on research. Joining us on sausages before the law in any profession last year using the math three

00:18:42.240 - 00:19:05.250

four, of course that didn't realize not twice in one day surely That is to say just want to

00:19:08.010 - 00:20:40.530

browse and then randomly streaming services last night so why For everything size mindset

00:20:42.240 - 00:21:15.780

minimalism blast was just a few switches for school but it was entirely different from the church is planning for the class. And you know, I don't know I don't have to sign up immediately we're

00:21:16.770 - 00:22:00.480

going to continue to grow the ball theories says this is is at the center of a voice and an

00:22:02.310 - 00:22:30.450

advocate for a greater ability to recognize and this is really what was your sexual way of vocabulary I think for the greatest

00:22:33.360 - 00:23:08.370

shows everyone you can you can make more money of what we do see

00:23:18.390 - 00:23:38.400

you lose me Scott. He says a very, very serious book, which is unusual and your videos focus on peace and how was that experience flew? Well here even the target for our particular quickly

00:23:39.510 - 00:24:08.280

on some occasions I decided that we should have us continue to work I noticed. So I copied out the last part

00:24:09.960 - 00:24:41.580

with the last chapter. Probably one of the models, other ways that you can be super profitable. There are other ways to make it easy to register, right. So getting

00:24:41.580 - 00:25:05.760

suspended but reading all these reports know We have a specific condition for developers and the

00:25:10.140 - 00:25:34.680

financial system, Nigerian theatre compositions, the reviews section is based on the photos that are not finished until the whole row is on play. So it's very basic concept. But I think

00:25:34.680 - 00:26:01.230

it is fascinating when we wrap up Ross, Chris Ross, people in industries, device, citizen for that, in order to have something to work within a structure

00:26:02.760 - 00:26:33.390

to show up as the brain imagine sitting down, sit down. You know, that's why it's so important. This is about voice. Because

00:26:36.990 - 00:26:55.770

that's where I was trying to make. My name is Lisa,

00:26:56.940 - 00:27:37.350

why not about that 10 years old, medically, is saying

00:27:39.660 - 00:27:51.150

everything. And then the start I think we just really need to

00:27:53.310 - 00:28:28.470

have the fact that you have these notices on the back more than all for your city is key to the reception last night, now, I don't have anything really to offer.

00:28:32.910 - 00:29:00.570

So, you know, I use what I have. Currently, please refrain surely more than industry to the purchase price that we're going to use. But then, to get my apple involved in hearing your ideas about you know, as well, are we finished with the battery

00:29:00.570 - 00:29:21.960

gas while they're on a student just starting to get involved in putting new sets together. We're gonna have to show how this is all going to come together.

00:29:26.130 - 00:29:49.950

Maybe the awkward works. So this is going to solve the problem and to get insight about how they wrote your piece, and then totally getting into how you ended up working on it

00:29:52.740 - 00:30:14.730

going to be rejected. Because the whole the whole thing starts with getting started. I'd like to kind of justify these wonderful sessions with Jennifer, and the

00:30:17.640 - 00:30:30.990

performers. And particularly this, usually not the year series in no power. So we already have energy.

00:30:34.560 - 00:31:00.060

And the whole team already accepted to be dismissed by the capsule. We sat down and immediately jumped to various layers of it. Religion for a while.

00:31:03.690 - 00:31:50.550

So it was really wonderful. Meaning that we need to build one of the most unlike some vinyl lighting, he actually wants to sell it with a set of monitors with the lighting designer, even though they wanted to save versus budget, as

00:31:50.550 - 00:32:04.380

wonderful as this assignment is, then I know that I can't wait to see.

00:32:07.290 - 00:32:21.120

So it might just a couple words about three and then we'll open up for questions because, you know, Maria sort of brought into the production with probably the most restrictive restrictions put on her because not only she supposedly choreographing, but

00:32:21.120 - 00:32:36.780

then Michael has a concept that he wants all the actors to be involved in the choreography PS, you know, maybe they don't dance, but that's alright, making them dance. And so I just wanted to say, you know, how does that feel to get involved

00:32:36.840 - 00:32:49.410

in the progression where you have to work consciously within the framework is that helpful, or if you go both ways, it can be helpful. He also like, for the most part,

00:32:49.560 - 00:32:59.760

I had a really incredible time doing this because I was so limited, and I was restricted in integrating the activities and it

00:33:01.050 - 00:33:11.100

wasn't going to have the app before the show. And then it's as far as it will go. So I can't really

00:33:15.450 - 00:33:41.250

read it, oh, just flip them over. are going to be going you're when you're traveling, you're going to get off the

00:33:41.250 - 00:34:01.980

road. And we haven't gone so well more often than adopters. Going all

00:34:01.980 - 00:34:21.510

the way back here and I was wondering let me just repeat the question who is reading from here? The question is, for Jimmy it's about the

00:34:22.980 - 00:34:55.800

elements. Maybe he said he brought various elements like in recent years, compensation for the folk, traditions, music and songs. Such as redefining the way according to which

00:34:56.160 - 00:35:30.090

development is coupled with the demand To the new store, I knew that the lady was involved in this, just typically looking at your plants and absorbing consciousness and honoring the practices of indigenous culture. However, it is not so much the

00:35:30.090 - 00:36:06.090

company's the significance of the quarterly functions. I didn't really think anything consciously. But the images in addition to other other musicians in college is also interesting. I caught things consciously, which was becoming

00:36:06.090 - 00:36:39.210

conscious or subconscious is probably doing anything interesting. I promise states, you, apparently are now going to go with a rhythm of the

00:36:39.210 - 00:36:54.510

new millennium and how life is so much faster. And I'll be looking forward to hearing that. As they say the university exams can you compare and contrast that with the trying to, to do that in the mechanical world

00:36:54.540 - 00:37:11.850

100 years ago, when I was just starting up your approach to determine the validity of an identity for all the movies, because they've all

00:37:12.570 - 00:37:26.400

had a couple of them, we're adding jobs and we're gonna have to suck. Everybody ever we're trying to take a pulse of progress. it's mind blowing advice, see

00:37:27.540 - 00:37:45.990

everything working for you this morning. So if you hear about it pretty quickly. There's this conference. I was having 1000 is 1000. Awkward.

00:37:56.940 - 00:38:18.570

But again, no, it's just the process. serious about pursuing work with certainty because generally, the traditional work in many ways is a lot of questions. But not

00:38:18.630 - 00:38:30.600

because you're going on the walk or it you know, the framing and bringing images with the job activities. That is unusual for him instead of using professionals.

00:38:32.550 - 00:38:46.740

So we have three different people with the acoustic piano and then two other keyboards one playing all percussion sound. So it's interesting to hear, I think the different ways that composers think of the orchestra and treat it in this day and

00:38:46.740 - 00:39:00.420

age. Yes, question. Recently at a music festival in Southern California, Ron Adams mentioned that he was doing was completely totally came out to San Francisco. And when he came out and services during the

00:39:00.420 - 00:39:14.880

competition, we needed some unusual instrumentation. Somebody probably Conrad Sousa said we'll call Harrison. Well, john said, He called us and he's world renowned composer. What do you mean call and have the person said you're in

00:39:14.880 - 00:39:27.420

California? My question is, it is important to reflect upon the kind of this young man called him and probably help him out with it. But in Glasgow or in

00:39:27.420 - 00:39:41.880

Philadelphia, or or in California, you find that the place where you will. The question is about whether the place that you're living or where you are at the moment influences how you compose and

00:39:41.880 - 00:39:54.000

what you're composing. is addressed to me or sounds like a bard? Yes, it certainly does. When I came back from the east coast. Pardon me flim.

00:39:55.710 - 00:40:20.460

That's another reason I'm building a desert getaway house. Lamb mildew. When I came back here, I realized early on, I had been going to Chinese opera and all sorts of things unavailable, mostly in Manhattan. And I reconnected with that past, also

00:40:20.460 - 00:40:41.460

Southwest Indian, as part of as part of that. But in in thinking about it later and over the course of time, I realized that Easterners think of Europe as a commute, you know, whereas in California, you're likely to think of Tokyo or Jakarta as a

00:40:41.460 - 00:41:05.220

commute. And Pacific guys here, and Atlantic is out there. And we no longer divide south and west. It's the Rockies. In this sense, however, it has occurred to me lately, that of course, Europe is simply Northwest Asia. And where we're here facing the

00:41:05.220 - 00:41:22.740

other end of Asia, so it is sort of comes full circle in this way. And that's another reason I think that anything goes in California. Do you remember this call from john adams? Lou? Do you remember

00:41:22.740 - 00:42:00.990

john adams phoning? You know, I don't? Thank you for that info. else want to talk? Any other questions? Keep going? Yes. So

00:42:00.990 - 00:42:21.360

the question is about the how the choreography was influenced by the music and how Maria determined when she would use two stages and an upper lower and the, the pace of the dance. I think the the main influence was the music. Absolutely. The

00:42:21.360 - 00:42:38.790

music was the leader. And I had to really follow it, I hadn't, I don't have a lot of, I didn't have a lot of freedom to move away from it. But what I did do is, since the music was so repetitive, I did use other music to inspire movement or

00:42:38.790 - 00:42:50.640

flavors of movement, and then put it on the dancers and tried to have them hold on to that flavor. Because it had a different intention. And the music is so driving that it really starts turning the dancers moving into something

00:42:50.640 - 00:43:10.170

else more towards the music. So I tried to get away from the music yet, I had to be with the music the same time. And in terms of devising the dance into the upper and lower. I, I had ideas of having more bridge, after more bridge over in this

00:43:10.170 - 00:43:25.860

corner, we all decided that that more Bridges can be in that corner, how to integrate him and how to integrate the speed of the music with with the dance. So what I mean is that, at times when the music was the most frenetic that was the time when

00:43:25.860 - 00:43:37.500

the dancer had had to move the most slowly. In order to get something across music, he can't keep up that tempo the whole time, you had to have some contrast in places. And so I worked with the idea of doing Quick quick movements and then

00:43:37.500 - 00:43:48.420

stopping and then slow movements during the fast movement. And then faster movement during the slow slower parts of the movie, the music, so trying to play with, although I've got to say it was really scary because early on in

00:43:48.420 - 00:44:00.870

the rehearsal process, as Marie was saying she was using other types of music. I remember calling her one night while she was in rehearsal when she said, Oh, we're doing a tango right now. But I thought Philip glasses music. It was pretty It

00:44:00.870 - 00:44:24.720

was pretty scary. Lips never been afraid of commonality. No. Yes. Money. Yes. Sure. To continue with your ideas. Were you consciously trying to pose the dancers?

00:44:24.720 - 00:44:42.240

estimated photos work? Absolutely. Yes, absolutely. We're coming to life. But the question was, whether Maria was consciously having the dancers having you pose as the as the photographs and how that

00:44:42.240 - 00:44:55.710

went. I thought that was beautifully done and very organic to the experience. Really interesting because to me, it didn't look really like posing. It was just like the picture to me. It made the two dimensional pictures three

00:44:55.710 - 00:45:07.590

dimensional. That's what I liked about it. It didn't seem Oh, you know, you just sort of noticed Suddenly, oh yeah, it's the same how neat. I like I thought that was very effective. Maria and I talked about that actually very early on in the

00:45:07.590 - 00:45:20.520

process. And Matthew also that one of the elements that we wanted to bring into the show was physical Ising. The actual images that Muybridge took, and we actually found two wonderful sections to really make that happen. And it kind of becomes a

00:45:20.520 - 00:45:51.060

recurring theme throughout the show, to kind of tie it all together. Yes. I'll enter that port for Steve. The question is about Philips score, because it's so repetitive. How is it all

00:45:51.060 - 00:45:54.450

written out or what's going on with it? It's actually I