澳洲5幸运五开奖号码查询168-2025澳洲幸运5开奖结果历史+在线开奖官网查询结果 The Talks
Trent Reznor and Atticus Ross: “That's the magic of it”
Mr. Reznor and Mr. Ross, as composers, how do you know when a film a score is working?
Trent Reznor: Having done this for a little while, the best moment in a film score or even with a Nine Inch Nails album, is when you have learned to trust yourself that this is it. You have to trust that this is it, because you can always go further — and often you go further and you fuck it up because you've gone past what was good. You also have to deal with your own inherent laziness and desire for it just to be done, you have to make sure you're not jumping the gun and fooling yourself into that. But as we've learned to recognize… I think you know it’s working when you feel goosebumps. We're in the studio just the two of us, and it’s like, “Okay, this is really fucking good,” and we can't wait for the world to hear it.
Atticus Ross: It’s the bit that you sort of can't put into words. I think essentially, that is what film scoring is, you know, that's the magic of it. It continues to be amazing to see how much music can affect the atmosphere in a room when you're watching a film, what you can do to people and how you can manipulate how they feel. That's the journey of film scoring. And I think our process has always been to focus on: what is the real heart of this story, and what is it trying to say? And if we can understand that and kind of create a musical language to tell that story, we can land the film.
You had one of those goosebumps moments when watching Empire of Light for the first time with an audience. You even teared up watching a particular scene.
AR: We'd worked so fucking hard at that scene — and it’s just a scene where the character is watching a film, all it is the music and the camera on her face. We’d done 15 different versions of it.
TR: Sam Mendes, the director, is a super smart guy and he’s meticulous. You're never not going to get feedback from anything you turn over. And that’s all you can count on: there's going to be some notes, they're thoughtful, but plentiful. And on that film, we’d been putting off that scene because we really wanted to understand the movie that was around it. But we were at the breaking point because there was a constant “You can do better” from Sam. And that did lead to a better result, you know? He was right.
AR: And so in the first screening with an audience, it really landed in the way that we had hoped it would land. It's such a big moment for this character, and like Trent said, those are the times where I think we got it right.
TR: It was very much a moment of: “This is really cool, I’m so glad I’m a part of it.” That's what makes it worth it, those fleeting moments.
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“I never have been into trends. Not now or then! I was born like that, in fact, if I see too much of something, I change it. I like independence. I love the eccentrics. Find your style and stick to it.” -
“Failure is more interesting. Success only comes in one form. It doesn’t teach you anything. Failure kind of comes in all sorts of ways, and teaches you all sorts of things. You learn by failing.” -
“I think when you’re an artist who’s been around for a while like I have you understand that it’s almost impossible to make work that is unanimously loved or understood! You can’t please everyone, and that is a great realization.” -
“Being creative and keeping your brain occupied is very sensible because if you don’t you die, slowly. Sometimes I feel tired and think I ought to give it up, I don’t want to just retire. I enjoy it all.” -
“The journey of an artist is a journey of discovery and some engagement with the nature of material, with bodily things and all that has led me to this place. I’m really interested in that as a process because the process moves you in directions that you couldn’t rationally put there.” -
“I was a soldier in Korea and I got into a situation where I knew I was going to die. The rest of my life I have lived every bloody moment from the moment I wake up until the time I go to sleep.” -
“One of the reasons why I have this much success is because I’m hard on myself. Until now, I never really saw myself as a talented chef! I don’t take the easy way. I put in the time. From the age of 17 until 23, I didn’t take any vacations, I had almost no days off.” -
“I would say that a strong work ethic is a vital ingredient for success. That’s something I was born with, I’m convinced of it; it was nothing that I acquired. If you take on anything, you try to do it your best.” -
“I don’t like plan Bs. If you don’t have a plan B, then you can’t take plan B. Don’t give yourself an out.” -
“I have the freedom to express myself. And it doesn’t matter if somebody’s going to pay me or pat me on the back for it. I chose to do things that I embrace, that I feel passionate about for whatever reason and I create my freedom around that.” -
“I think my photographic career has been one of growing, learning, experimenting and trying different things. That was a big journey for me! It’s always a progression, it’s about challenging the idea of what photography is.” -
“If you work with somebody for a long time, you have to challenge them otherwise you jeopardize your relationship. You have to constantly reinterpret your work together and provide a new vision of your relationship.” -
“Architecture is the oddest profession. In the beginning you're very much involved in finding your voice and locating yourself artistically. For 25 years you're working with small projects, domestic projects. And then you mature at 50 and you're given your first projects.” -
“I just keep imagining myself thirty years from now thinking, ‘Why didn’t you take advantage of all the opportunities you had? Look at all the people you could have worked with, the roles you could have done. Go for it.’ And that’s what I am thinking.” -
“There is a thing called discipline. If you really want to do it, you’ve got to put in the work. Work, work, work, work. Practice, practice, practice, practice.” -
“Belief is very important. It’s like when you are riding a horse and you want it to go to the left, you look to the left first and then pull the horse’s head. As a human being it is the same thing: wherever you put your attention is probably where you are going to find yourself.” -
“I believe that you’re a result of the choices that you make. Each action has a reaction. Somehow it’s just all connected and I wouldn’t change any of it.” -
“I think the key to having a successful career is to find the thing you do well and do it again and again for the rest of your life. But I’m interested in expanding my language as an artist and as a composer. And I try to expand it with every project.” -
“For me it’s a lot about physicality, about how I feel. When you have these hardships or when you see someone you love in pain or you struggle, all the petty shit goes away. You are like, “I can’t believe I was worried about this other thing,” when you see what really matters.” -
“When you are at a crossroads, mistakes can help you decide the right way forward, and I think I really grew when I understood that I need to accept my mistakes.” -
“You’re always looking for a second chance. You’re always looking to do a little bit better than you did the last time. And you hope that the readers will stay with you.” -
“Everyone’s life comes to an end. We’re all going to come to the same fate. So you just keep going while you can, doing what you like.” -
“When I was training as a ballet dancer, I know that I was often tired or in pain, but you just work through it. You go home crying and your parents almost want you to quit but then you just do it. And I use that stamina now as an actress because it’s normally quite uncomfortable to make films.” -
“Any kind of quest for achievement has some kind of a personal drive behind it. I'm sure some people would say that it's obviously about the ego, but on the other hand, it's not as if I'm competing against anybody. It's not as if I'm trying to outdo anybody. It's just me trying to do something to see if I can.” -
“I don’t want to be good. I want to be the best. Even in failing that, you’ll hit a higher mark than if you never tried.” -
“I think you always have to have risk when you’re creating a piece of art. Without that, I don’t understand really what the drive is to succeed. It’s the risk factor that, weirdly, keeps you feeling safe. It keeps you on your toes.” -
“I think every person who is curious is more fascinating, and exploration is a big part of that. If you know everything in advance, if you're too self-confident, then everything will stop at some point.” -
“It all comes down to realizing how good you are and really consciously working with that. I think as an artist we always try to hide the imperfections. But the imperfections are there because we’re all humans, and this is what makes us interesting.” -
“Failure is just something you have to go through on your own. Nothing can prepare you for it, just like a broken heart. I thought about folding, but I’m not a quitter. I’m not going to quit.” -
“I always say ideas drive the boat. Ideas are a huge, huge blessing. That’s the thing you try to catch – an idea that you fall in love with. The whole thing doesn’t come at once, but fragments of things come and these fragments form themselves into a script. It’s a process.” -
“At what point do you feel you’ve achieved it and you can move on? I think you usually have to start thinking, ‘So what’s next?’” -
“I think all actors have to be dreamers. I think every citizen of every kind of society has to dream. If you stop dreaming, it’s over.” -
“If I knew that tomorrow a meteorite would destroy our planet, I would start shooting a new film today.” -
“Making something or creating something is about looking and exploring the potential, and I want to do that right up until the day of the performance. And then when we’re performing, I want to do it a bit more. There’s no reason we can’t.” -
“The only thing that you have to be very sure of is that nothing can go wrong. You can’t get in the way of the whole thing by messing it up with great ideas or smart moves. Absolute trust is, I think, the crucial ingredient.” -
“I think as you are growing up, deciding what you want to do is really the process of elimination rather than gravitating towards something until you land on what really makes you happy.” -
“I try not to look back. I’m looking forward. I’m worried more about what I’m going to do next week than I am what I did last week. There are too many things to do. Looking back is for everybody else.” -
“Even though I wanted to be minimal, for the first 20 years in my career all I did was add things; more courses, more ingredients. Only three years ago I was confident to start focusing on removing, and this is when I finally created a dish where I felt like I achieved what I tried to do for 23 years.” -
“Each of my projects is kind of a marathon run. A lot of them won't make it to the finish line and the only reason they make it is because I go back and nurture them and try to figure everything out.” -
“It’s been a lot harder than I thought it was going to be to make the films I really dream of making. It’s heartbreaking when that happens, but it’s all okay. It requires patience.”
Dominique Crenn: “Food is a movement”
Ms. Crenn, would you consider yourself a storyteller through your work as a chef?
Certainly, I’m a storyteller. All the menus that I write for Atelier Crenn and my other restaurants are telling a story in some way. The last menu that I created even included a poem that I wrote about the anniversary of my mom passing away. It was about the ocean and the water cycle… All the dishes were very much connected to the earth and the sea. It was very emotional. Another menu I created was dedicated to a girl called Hannah. I work a lot with kids with cancer, and I connected with this 11 year old girl, I spent a lot of time with her, we wrote poetry together… And one day, she died. And all that year, all my menus were about Hannah. That’s storytelling. That’s emotional. And I think when you come to that place, people connect with that.
That sounds incredibly personal — almost like you are bearing your soul on a plate. Is it difficult to make yourself so vulnerable?
It’s true that we are exposed. But to be an artist, to show your art to the world, you have to be vulnerable. I just want to make sure that every step that I do has a purpose and is meaningful, and with that as the goal, you really are naked on the table. I think it's one of the best skills we have as humans, but often people are afraid of that. I tell this to my daughters: vulnerability is your super power, your inner power. Whatever you want to do, just go out there and do your magic, be who you are on the plate. Do not hide yourself.
Alessandra Rampazzo and Marcello Galiotto: “Passion is what guides us”
Demi Moore: “I see it only as a gain”
Saoirse Ronan: “I’m more inquisitive now than ever”
Mihai Mălaimare Jr.: “Each approach is unique”
Danny Trejo: “Let’s do it, I’ll play it”
Doug Liman: “I’m not interested in easy”
Kevin Smith: “That’s the joy of it”
Rafael Manuel: “I’m taking it as a chance for growth”
