"The Human Spirit; when it is allowed to become... made manifest through art, invariably is going to create greatness." "You know, it almost doesn't matter what the medium is, it doesn't matter what the financials are, it doesn't matter what the delivery vehicles are; when humans make stuff we tend to make interesting things." "So if you give a human a hammer and a piece of wood, they are going to make something interesting." "If you give a human a computer and broadband access they're going to make something interesting." "In the olden days of 30- 40- 50 years ago, people didn't make things." "You know.." "So people would go to photography exhibits, people would go buy records and there were professional artists." "And now everybody is a photographer, everybody is a filmmaker, everybody is a writer, everybody is a musician." "See, before you could sell a record for 10 dollars or 16.98 as a CD because there was still this inherent mystery about how it was done , who did it and how can I do that thing." "Well, now that mystery has dissolved itself because I can make it..." "Anybody can make it.... they..." "They know the secrets now." "I think that this a incredibly fertile time for artists." "There's no cap on creativity." "The technological advances have given the artists an open door to creating as much as their capacity will allow" "Anybody can go out and make a movie." "Anybody who has 15,000 dollars can buy a camera." "Even if you don't, there's so many ways to make a movie, there's so many ways to distribute your film on the internet, on the..." "You know there's a million different platforms." "So that's all really good for people who want to express themselves but also makes it a lot harder to break through the all of the noise." "I don't think a young Fasbender, a young Venda, a young Hitchcock a young Scorcese... they wouldn't make it in this business." "Slap up their early stuff on Facebook, on" "Youtube." "It would get lost, it would get lost in the ocean of garbage." "You remember In 2007, TIME" "Magazine gave the award of best person of the year to you:" "ourselves, you and I. It's global masturbation." "Used to be, you didn't become an artist to become rich." "You became an artist 'cause you had an idea to share, because you had an emotion to share." "And that's where we are heading again." "And we're going to see more people, do more art in more ways than ever before." "Almost everybody I meet in the world of art, music, literature, creative expression; everybody is equally excited and afraid." "You know, no one really knows where their next paycheck is coming from but they're really excited about their ability to create work and communicate directly with an audience" "My name is Olafur Arnalds." "I am from Iceland." "I play..." "I make cross-over Classical music into Pop music." "Trying to make Classical music popular, I guess." "Well I started making the music, maybe early 2006." "Was recording my first album." "Then, only about three four months after I put some of the music online, I was playing the first shows." "And they were already sold out." "So, it happened very fast." "It was not some years of preparation." "It was just a few months." "I see myself as maybe a" "Neoclassical composer." "I don't know..." "I guess I'm just a musician." "That's it..." "The words for it." "It's quite a contrast when you're mixing these two different worlds together." "But still it's just sound frequencies." "There's theoretically no actual difference between a sound coming from a computer or a sound coming from a piano." "If they are both coming out of the same speakers they're just sound waves." "I do think a lot f the Classical scene as very divided from the rest of the world and I would like to see this divide broken down." "I would like to see Classical music as just another genre, just like" "Pop or Rock or Dance music." "Who are all kind of in the same category and there's Classical on the other side." "When I started making records, you really had to have a piece of hardware for almost every task." "If you wanted to EQ a vocal or you wanted to limit the variation in dynamic response of a given instrument, if you wanted to give it an echo or delay you wanted to make it feel as though it came from" "a cave." "Each of those things had to have it's own specific box" "You'd have a drum machine that was old and could only 'talk' to your sequencer with a weird midi din sync converter." "So just making electronic music." "Getting anything to just generate sound was difficult" "I remember when, back in the days, we was doing 'Louder than a Bomb' , for example." "And we needed to make a mute." "And of all of like about 10 tracks, needed to all mute at once." "And we didn't have any automation on our board." "So we had to listen to the song, come down, and then as it gets to a certain point everybody has to go like "Okay, one... two... three..."." "And everybody had to be on sync." "And then you got to release on sync." "So those are the kinds of dynamics we had to do back in the days as vis a vis to what you can do today" "A big difference is that at that time you had to be like around 30" "35, know people and have a little bit if money to be able to record stuff." "Where as now you can just do it on your own computer and any one can record music now." "When we started, one of the reasons that we were able to get going was because you could just use a home computer to make multi-track recordings and you know... play a bit of a guitar and then play some" "more guitar on top of it and sing on top of it and it was easy to do." "It's software." "You know?" "So now, any kid can use a cracked version or buy a version of REASON or LOGIC or ABBLETON and in about five minutes do what took six months or years, twenty years ago." "There's a lot of different aspects of being a Colourist." "But basically what you do is adjust the look of footage." "Basically: the brightness, the contrast, the colour, the saturation, you know... things like that." "You give the footage a look." "When I started out doing this, it was a matter of taking a roll of film, putting it up on a scanner" "and adjusting the light level out of the scanner to make pictures." "And it really isn't that much different except now we're working with things like files and sequences instead of a roll of film." "The RED is probably the newest generation, I would say, of a digital motion picture camera." "And, the most revolutionary thing about it , I think, from a lot of people's perspective is: the fact that they knocked the zeroes off the price tag to the point where a lot of people will have access to" "making very high quality motion picture images." "That's the biggest thing." "I mean, you can always buy a cheaper camera but I don't think there has ever been a camera in that price range that has generated the kind of images that it does." "And that, I think, is the most revolutionary part about it." "So, we're at RED Studios." "Which is somewhat historic." "This is one of five soundstages that you're looking at here." "They're shooting a big RED project in here right now." "There's a shoot going on here, a" "shoot going on here and this stage here we took over as a working lab." "We have a full 4K theater in here and place to test cameras, test work flow, demonstrate, all the different logistics." "We're actually building some sets in here today for some testing that we're going to do." "In the early days of this whole RED rebellion, as we were building the camera, there were a lot of people that never thought this would happen." "That were just kind of laughing at us." "Chuckling at us." "Lot of people called it a scam, called it vapor ware, they called it a waste of time and energy." ""Don't spend time with these crazy" "RED guys cause they are never going to do anything that's actually" "going to happen."" "And that's all part of that rebellion." "It'd refusing to believe all those people that said you can't do this" "The RED, as a tool and what it means from a filmmaking stand point, from a movie making stand point, is pretty interesting because it means a lot more movies that may have not had a chance to" "be made will be made." "Which means that you're going to have a lot more options for cinema, you're going to have a lot more creativity rising to the top." "I never thought about filmmaking as a job I could have." "I loved movies," "I loved writing, but it didn't ever occur to me as something I could do with my life." "I think the moment that it did occur to me was when I started seeing, the movies that were at SXSW in 2005, these movies people were calling mumble form movies." "That are small digital, stories made by people my age about people my age, and suddenly I understood like this is a different world and it's possible for anybody to make a movie now" "Guess who got a job?" "I'm a hostess as 'Clandestino'." "They hung up." "I'm a man in the house, okay?" "That's invaluable" "There seems to be a lot more younger people, who have access to a lot more tools than there used to be." "It used to be more the established guys, could do this 'cause it was very expensive to do it." "Now it's the budgets." "You can do things, we can produce a movie probably a lot cheaper." "Whether it's going to be as good as a high budget movie, I mean that's debateable." "But there is a way to make movies, very cheaply now." "There's ways to edit very cheaply, to shoot them very cheaply, distribute them very cheaply." "So there's a lot more young people who are able to do that." "Jimmy Hendrix." "If the electric guitar had not existed, this lad, this seventeen year old boy, wherever he was; called Jimmy" "Hendrix, would've never imagined." "He wouldn't have gone, "O this is the sound I want." "I've got to go invent an electric guitar." "The electric guitar got invented very pragmatically, for pragmatic reasons." "The rhythm guitars in the big band era of the 1930's, needed to be slightly louder." "So somebody came up with it. "Okay we can come up with this technology to make this thing loud"." "So the technology..." "The point I'm trying to make here is: technology always comes first." "Then the artist comes along, Jimmy Hendrix. "O Wow!" "You can do this and if you do this it goes waaaaaahhhhooo, oh right that sounds good I want to do stuff with that"" "So the artist always comes after the technology." "The artist didn't invent oil paint, the artist didn't invent the moving camera, it wasn't their vision." "That technology is usually invented for some other reason and then the artist comes along and abuses it and changes it and..." "So in that sense technology is great" "One of my main purposes with doing this gig is to inspire people." "In any way possible." "And one way of inspiring someone is they feel like creating art." "And I thought why should this always be one way." "Like" "I make music and people listen to it and I got sent a lot of art back all the time .people send me videos, they do music videos to a song, they make a painting or take photos and name them with a title" "of a special song from me or something." "And I thought we can also work this in both directions, why can't the fans also just inspire me and we can work together." "And make an interesting collaboration." "A huge collaboration with a lot of people." "So I did this project where I encouraged people to submit, to do art to the songs and submit it to me and be involved with the project and maybe inspire what I was doing and in the end we" "would use some of the pictures and art for the release." "And from that project I got a lot of videos that people did." "Some of them were stop motion with some dolls... a lot of really cool stuff." "One video especially struck my mind, it was an Argentinian guy, I never met in my whole life put up just a very simple visual , kind of a sound visualization, it moves it's just colors and they move with the" "music." "One color is the violin and one color is the piano." "And I sent him an e-mail and said, "Hey this is Olafur here and I saw your video" "and would really like to promote your video and use it as the official video to the song just like I did with other peoples art and the album art work." And he of course was just excited about that" "and in the end it was the most successful video I've ever done." "And this video alone can account for a lot of my success in the last year." "In the creative world, it used o be that we knew where to go to 'get' art." "Where to go to get entertainment." "They were in boxes." "And sometimes the boxes were the TV boxes, and sometimes they were building boxes, or the front page of a news paper (which is a nice little box)." "So, that was fantastic." "But of course there's a price to pay to that old way of doing things as well, which is, somebody else is making your decisions." "Though they are also human beings, it's very limited, necessary, range of tastes and opinions and ideas." "And traditionally ,unfortunately, fairly typically, it's been representative of particular empowered groups or self empowered groups; groups empowered on the backs of others." "As they say, it's typically white guys who tell us what's going to go into the museum or the front page of the newspaper, at least traditionally" "Art has been around for a really long time." "Music has been around for a really long time." "Painting, and sculptures, and plays have been around for a really long time." "But it's only in the last fifty years that there's been an 'industry'." "They call it the Music 'Industry', the Movie 'Industry'; that's new." "The old production systems brought certain value to the process." "In the time of Adams, you needed capital to record the music or film." "You needed more money and expertise to market it through the relative handful of channels the we had: the TV stations, the newspapers and the rest of it." "And because these means were so expensive very, very few artists could be brought through them." "After 'Permission Marketing', I really felt uncomfortable about writing again." "I was sort of done." "And Michael Gladwell sent me a copy of 'The Tipping Point' to write a blurb for on the back." "And I read it and it unlocked something in my head that I didn't know was there." "And it only took me ten or twelve days to write a whole book that he" "had started in my head." "A book called 'Unleashing the Idea Virus'." "And I finished the book and I looked at it and it's all about how ideas spread." "And I said, "Now, what am I going to do with it."" "Because it says: ideas that are free spread faster and ideas that spread, win." "So I went to my publisher, and I had just had a New" "York Times best seller a year earlier, and I said, "Here's my next book." "You can publish it." "But" "I need it come out right away." "And..." "I want to give it away online for free"." "And my publisher's boss said, "Great!" "We'd love to publish it but you can't give it away for free and you'll have it out in a year"." "So I decided to put my money where my mouth is and I just posted the e book online." "And the first day 3000 people downloaded it." "Which is not a lot." "But then it was 6000 and then it was 12,000 and then it was a million and now past that all it's five million." "With just me, a laptop and the internet. 5 million people." "So people said, "Well, how do you make any money doing that?"." "And I said "Well, first of all I wasn't trying to make money I was trying to make a point"." "And I did make a point: ideas that spead win." "But then an interesting thing happened, people started e-mailing me saying, "I like this but I don't want to read it on a screen"." "So we quickly self published an edition." "Which isn't difficult at all, you call one person and they print the book for you." "And we put it on" "Amazon for 40 dollars, this is in the year 2000 or something. 40 dollars, which is insane for a 200 page hardcover and it went to no. 5 on their best seller list." "And when it was translated into Japanese it went to no. 4 and it got translated into all these languages." "I made more money from the book I gave away than the book I had sold." "And the lesson there for me is, not that this is a good way to make money, but the lesson is this changes everything; the industry is dead." "I'm totally up for the democratization of anything." "The more democracy, the better." "And the internet has been one of the great things for democracy." "And the fact that we can have... we can all create tracks and get them up." "I initially thought, "This is fantastic!"" "Well not initially." "But it is fantastic." "But it pushed things along." "So everybody who used to think "O yeah!" "Now I can make these tracks that sound fantastic in my bedroom as if I've spent a whole month in an expensive studio." "I can be just doing it here."" "But it's changed everything." "That now becomes irrelevant." "Now we can all do that it's moved things along." "And I like things moving along." "Ten years ago you would assume that when you go to a concert that there's a performer on stage and has an audience of ten thousand people." "That they're performing to." "What's happened to the media atmosphere that we're in now ." "Is that you go to this concert, there's ten thousand people there." "The difference is that everyone believes that they are the artist and everyone else is the audience." "The problem with that of course is that everyone else thinks the same." "When you fall into the trap of confusing the artist with audience, when you believe that the audience knows more than the artist, is more authoritative, is more creative, more talented, then art ends then you have something else." "You have cacophony." "You have simply an apology for radical democratization." "And it's wrong to confuse democratization in cultural and political terms with the creation of art." "Which is by definition, for better or for worse, an elitist business." "In our post-industrial age; because of atomization, loneliness, because of the break up of community, the way to somehow re-affi or deify ourselves is through the creative act." "You go out there into the world; everyone thinks they have a novel in them, everyone thinks they can make a movie, everyone thinks they can write a song." "That's why so many kids go into bands, that's why everyone sits down and tries to write a great book." "That's why everyone is buying camcorders and throwing their stuff on YOUTUBE." "It's a lot more people who are making music and music is definitely democratized." "Now where anyone can make an album, any single person with the most minimal software can make a record, put a record on the internet let the entire world know they exist ." "The problem is: everyone is doing that" "Should everyone be able to be a successful musician?" "Should everyone be able to have a fanbase?" "To have people buying their music?" "Make their living form music?" "No." "Absolutely not." "There are talented people and there are not talented people." "That's a reality, it's an unfortunate reality, it's a reality that many people don't like because most people don't have talent." "So for a serious young filmmaker these are very, very depressing times." "When you leave everything to the crowds, when everything becomes democratized, where everything is determined by number of clicks." "You're by definition undermining the seriousness of the artistic endeavour." "It's that idea of gray goo." "You know?" "This idea of; if you have little bitty bio-machines, that can replicate themselves, there's nothing to stop the world from being covered in gray goo." "These little things are going to replicate themselves until there's nothing left of the world except for these little bitty machines." "Art and culture may potentially succumb to that same principle where: if everybody is a musician and everybody is making mediocre music, eventually the world is just covered in mediocrity." "And people start to become comfortable with mediocrity." "And that to me is the danger." "There's no evidence the we're on the verge of a great new glittering cultural age." "If there's any evidence ,as I've argued in my book and in everything else I say, we well may be on the verge of a new dark age in cultural terms." "A new collapse of Constantinople; where the creative world is destroyed, where all we have is cacophony and self opinion, where we have crisis of democratized culture," "Right now: is a time of hype an backlash,." "And it is a constant stream of hype and backlash ." "And it's so funny that I can look at bands that people were talking about two years ago." "Like they were the next big thing." "And everyone, it seemed, everyone was talking about it." "And where the fuck are they?" "Who cares?" "Who cares where are they?" "It's these embarrassing movements and sub-genres that we thought were the next big thing ." "We're just a bunch of critics and bloggers jerking off on each other. 'Cause it's so easy to do that in the internet age, it's so easy to go in and out and discover new things" "right away." "I think it's going to look a little embarrassing ." "We're going to be a little ashamed of ourselves." "We're here in Manchester because" "I'm playing a concert here with a full orchestra." "The conductor," "André de Ridder, he contacted me." "And had me come here to do this show with him." "And what we'll be doing is..." "I have rearranged the whole, new, album for a full orchestra and we'll be premiering that, in a way." "I would say this is a pretty important concert for me actually." "First of all because it's the first time I've arranged anything for a full orchestra and to show people, to hopefully show people, that I can do that is very important for me." "Royal Northern College of Music is in Manchester ." "I think it is one of the best music colleges in the" "UK." "And it's regarded as, certain departments, as the best in the country." "They're very young musicians and when Olafur arrived and met the orchestra, he was really, really surprised and said to me , "Oh!" "These are kids"." "And then he was even more surprised when he heard them play because they're already very, very good mature musicians making a very fine sound." "Well, the basic idea bout the whole evening, really, was something that we tend to do at the end of each year." "And we try and either go somewhere else, outside of the building into a place where there is not normally music." "We've been to museums, we've been to art galleries." "Last year we went to a huge rail station." "And we try and take music into a place where it doesn't normally exist ." "Well this is a concert hall and it does have music all the time." "So we decided to try and turn the whole thing on its head and perhaps take music, collect music, put music together" "that wouldn't normally be presented in that kind of space." "Certainly within what one might think a conservatoir orchestra would do." "I was just thinking ,you know, I'm not a Classical dude." "And I made this arrangement, almost knowing nothing about what I was doing." "I had never arranged for an orchestra before this and all of a sudden I am the biggest name in the show and there's a Stravinsky piece being played just before me." "I was just thinking, people are going to have very high expectations and think that I am some sort of a genius or something since I am so young and playing this huge gig and they'll maybe come and they see" "that I do everything wrong." "But I think it sounds good and that's what matters." "I hope that people realise that it's not about elitism and rules , it's about doing something nice." "I was recently on a panel for a big advertising week in New York." "I was on a panel called ' A Shortage of" "Digital Talent'." "And all of these big ad executives were talking about how there's a shortage of digital talent out there, there are fewer people than ever before." "I disagree." "I think there are more." "But they don't want to work in small little cubes and agencies on" "Madison Avenue." "They want to work on their own terms." "They want to work on their own hardware and software." "They want to work on projects that they are motivated and passionate about." "We're at a time when artist have the power." "And I am often puzzled that they don't recognise exactly how much power that they have." "There's no record company without the artist." "There is no venue to fill without the artist." "There is no t-shirt to sell without the artist." "The creative world was always segmented by who you knew, and who happened to know somebody that you" "Know." "There was too much happening by circumstance." "That's what is unique and new about it now; is that incredible talent can work on their own, can represent themselves, can develop their own careers." "They don't have to work at an agency any more." "They can really build their own enterprise, their own brand." "We are seeing a new breed of artists who are very independent." "And who are often self managed artists." "Who have these careers that they're dictating and they're dictating based on their fans and where they want to creatively move through music film artwork etc." "We are trying to create a unified experience with both music and moving images." "We often start with the music." "Then" "I import the sound and the pattern of the melody into my computer." "A software analyzes the waveform of the sound and then processes the video to fit with the music." "This creates a kind of interaction." "On this computer I run software like CUBASE and ABLETON LIVE." "These are my main tools for creating and playing music." "Before, I only used my keyboard when creating music." "Even though the computer has made that process much easier, I want to avoid my music sounding technological." "You can be limited by the software's capabilities when you create images." "On the other hand, if you take drawing, even with cave paintings of the Stone Age we are still bound by human limitations." "You just can't avoid limitations, I guess." "To sum it up simply; the easiest way to understand SHILO is like a traditional production company, for the most part, but we've come at it from a very un-traditional sort of way." "The traditional model says: there's a director, there's a post" "(production) house, there's a editorial company, there's an advertising agency." "And each of them has their own stake in what they're making and there is always this sort of fight against it." "By sort of harnessing all those things and saying like nowadays the guys who direct are sometimes the guys who design, the guys who direct are also sometimes the dudes who edit." "That sort of blended model really changes the whole landscape and it also sort of says that anybody can do anything." "If a designer comes at directing something, they might have a different approach than a traditional director might have." "And so it sort of comes out with a different product." "It's not just about whether something is better or worse, it's about something can be different because people are coming at it from a different perspective." "All of us, almost the entirety of our shop comes form skateboarding." "It's a funny kind of thing 'cause we're all sort of started from seeing the world through that lens a little bit." "We're the first people to make videos and publish them ourselves." "And do them reoccurringly." "Just keep making and making and making." "And as soon as there was a VHS camera that came out, that you could go and film, and duplicate it and send it to people; that's where skateboarding started." "There is an essence in that world of making it happen, do it yourself." "Who cares what 'the man' says?" "Who cares what the world says?" "You just go out on the streets and you skate." "It's not like you're waiting for an organized team to set up a baseball game." "You just do it." "They're working on edits." "Having the ability to do more of the work ourselves, it gives us the ability to be more free, more visceral, more alchemic with the way that the components come together." "A lot less of it has to be extremely pre-planned." "And a lot more of it can be entirely improvisational." "Very much like, of the moment and reflective of the moment." "Most of it comes out of the grass roots;" "like learn it yourself, do it yourself." "Majority of the people here, including ourselves, are self taught." "We're educated." "I mean, we've gone to school but not necessarily film school or science school." "It's always been something that's been the fruit of our labours in a personal sense." "We just make it happen." "I sort of think also, there's no formal training for what's going on in the professional world right now." "In terms of the filmmaking industry, you'll learn specific tools but not anything that's going to prepare you for the sense and values you have to have in order to really make it or to enjoy yourself." "My name is Adam Watson and I am studying cinematography here and also writing." "So I am kind of a" "Jack of all trades." "Right now I'm working on a project that I'm both directing and D.P-ing. Sort of a music video." "Yeah, you learn a tonne." "If you can get work without going to film school, great!" "More power to you." "I don't hear a lot of stories about the Robert Rodriguez's and the" "Quentin Tarantino's who just sort of went out there and made a movie on their own and became over-night successes." "The Oscar winners, or nominees, look at the ten of them and see how many didn't go to film school." "Even five years ago, some of the students that we would get, wouldn't even know the concept of speaking editorially, wouldn't even know the concept of matching action." "If my hand is down here in a wide-shot, what's it like if it's here in the close-up." "Now I think that there is no need to match action all the time but that at least is a concept that they've been experimenting with from fourth grade." "Because they have been able to put images together and see what happens when it jumps from one place to another." "They come to the school having made a lot of movies themselves, where they did everything." "They directed, they shot, they edited, they may have written the music, they may have acted in it." "And so they could keep their vision up in here and not have to explain it, not have to describe it in lots of ways to collaborators." "So at the core of what I teach here at USC, and what many of faculty do teach, is how to understand what your story is to the degree." "So you can then describe that to other people." "So you can help them to join in, in your story telling." "Our students need to be comfortable with the pace at which things change." "We can't teach toady's technology because in five years that will be gone." "We need to be able to teach them how to tell an effective stories using images, and to be comfortable with how the technology is changing every single year." "One of the most fascinating aspects of the digital revolution on the creative process is how it separated, to an extent, knowledge of craft and creativity be a good photographer you had to know how to develop your own film, to print" "your own film, and you had to understand the way the camera worked and now, that doesn't matter." "It's The same thing with music." "To be great musician you had to really know how to play your instrument, you had to really know how all the technology worked and now you have to know how turn on a computer." "Bon Iver, made that record in a cabin." "Do I think that it makes any less of a great record?" "That record was amazing." "I Listen to it all the time." "How would've it sounded if twenty people made it?" "It Might have been..." "I would like to hear that record." "I don't know if it would've made the same one or the same personal experience." "That's an interesting record to look at because the songs that he wrote are so; a guy in a cabin going through it." "You know?" "It's hard to say, maybe the personalization of the recording studio has lead for some interesting art." "There are certainly things I miss about it though." "Younger musicians and some older ones I've seen are guilty of this too, rely too much on the technology." "They give a substandard, sub par performance and they expect the technology to compensate for it." ""Oh you can fix that, I know you have a tool that does that." "You can tune that..." "You can edit this to death..." "You can adjust this... you can adjust that"." "They know, unfortunately, the tools that are available to us ." "And yes, we can." "It's time consuming but we can." "We can fix just about anything." "After you finish fixing it there is no performance anymore." "There is nothing there." "The craft is no longer necessary." "The craft of writing or a craft of making art, the craft of the musician, is gone." "I think about ten years ago, if I had worked with a drummer and that drummer could not play that particular part with musicality or precision, then we would work through the process until he could or she could, or we would hire" "somebody else." "Now, if a drummer can't articular a part with precision or musicality," "I'm expected to edit it until it as those qualities." "If you listen to a Motown record, for example, those records are all played by amazing musicians." "And now, much of what you hear, I shouldn't say for all records but for pop records..." "The records that" "I'm hired to make, those records are generally, mechanically edited" "to what some people might consider a sterile precision." "A computerized precision." "I personally find perfect in art and music to be really off putting." "I like listening to Billy Holiday 'cause there's vulnerability." "I love listening to Nick Drake because there is the vulnerability and that imperfection." "I get really, almost intimidated and bored by perfect digital art." "And I think some engineers and some producers and some people who work on the production side of making digital art or music, just focus on creating perfection without vulnerability, and beauty and humanity." "To me, the most important thing is to see work that's honest and interesting and complicated." "Be it a forty-five minute movie, or a feature, or a bunch of little two minute clips that one person puts on Youtube." "And I think that it's really easy to get so worked up about all this technology without thinking about where everything is artistically, and whether that's interesting." "Because to me that is the foundation it all hinges on." "Because nobody is going to care how you distributed your movie or what you shot it on if it doesn't have an idea beyond just the modern person using modern technology." "Do you think it's important for musicians at the Coservatoir, the" "RNCM, to adapt to different playing styles as part of what they should be learning, as part of modern music." "Yes, if they want to do that in the future, they have to." "They have to be able to adapt to anything really." "Unless they want to get stuck within just one kind of music." "Tell me, what it's like working with musicians who are obviously of a very high standard but more or less classically trained." "So maybe from a slightly different tradition from some of the musicians you might normally work with." "Just tell me about that." "I think, it just took them a little while to get this." "At first they maybe got the individual parts, sent by the orchestra manager and then looked at them and thought," ""Oh, it's really easy ." "I don't really need to rehearse this. a few notes."" "And then came to rehearsal and it wasn't really..." "The feeling wasn't there because they really did not understand what was happening." "But after we had the first full run-through of the whole piece, after that, they all of a sudden they got it." "They understand. " Hey, okay." "This guy is just not doing what we're used to and we have to adapt to that."" "And then they really did." "They got a chance to understand the story and the feelings within the piece." "They stared playing it beautifully." "And they started playing it without constantly thinking about their classical training and just thinking about their feelings and just an expression of that." "I definitely don't feel like a part of the Classical world." "I've never considered myself a classical musician, in that way." "And I know that the people within that world, they split into sides from how they look at what I do and what people do in the same thing I'm doing." "Well, I would say that the classical- contemporary scene is quite a closed circle." "And that's a shame I think." "But the problem is..." "They have quite a problem with music that's just trying to be beautiful, and use language that may have been used before, but it's used in this context, in a different way." "And very often you get a very aggressive reaction by these people against this music." "And they think it's not worth the money and the effort." "The classical world says you're not classical enough to be included in what we're doing." "And we get this, for example, radio ." "I'm too classical for the pop radio stations and I'm too pop for the classical radio stations." "I'm nowhere, basically." "I've experienced that even with friends of mine who I thought were open with pop music as well as classical music." "Maybe they are just uncomfortable with this because they can't quite catergorize it; which draw should it go into?" "It makes them feel uncomfortable, I think." "For me, that moment when I realized everything had changed was when a friend of mine who worked at EMI told me a story about seven or eight years ago, maybe even nine years ago." "They had a focus group where they brought a bunch of kids into a room and played the music and then on the way out they had a bunch of CD's on a table and they said to the kids, "Oh as you're" "leaving feel free to grab some" "CDs."" "The twenty kids, who were about 16 17 years old at that time, as they left not one of them took a CD." "I'm Hillary Rosen." "I was the" "Chainman and CEO of the Record" "Industry Association of America." "In '98 sales were good." "Sales were increasing." "CD's hadn't yet plateaued." "CD sales were still increasing." "So, I founded Napster with my partner Sean Fanning." "We were both high-school students, when we came up with the idea." "We'd never even met in person when we founded the company." "We'd only communicated over the internet." "Thel vision behind Napster, in the very early stages, was just to come up with a system that made the sharing for MP3s so easy that a housewife or a grandmother in Iowa could do it." "I think the first time that I used" "Napster I notice what it let you do; that you could access all this music very quickly." "And I immediately felt like it just changed something in the way that I think about media and music." "I just felt like, that it'll never be the same." "I had dial-up internet at my house, and then I came to college and had a T-1 connection for the first time." "Ethernet!" "And it was just crazy." "I went nuts and I filled up my laptop within two weeks." "And then looking at this progress bar which said I would download one" "MP3, can't remember which MP3 I downloaded..." "I downloaded one MP3 and the progress bar saying two hours remaining, and thought that was the most amazing thing!" "I remember taking to a company executive who hadn't really tried it." "And I think he was going somewhere." "I was like ," Don't go anywhere." "Go to your computer right now a follow my instructions."" "People were astounded." "Much like the music fan that happened upon" "Napster was." "People were infuriated." "I think the room sort of ran the gambit of emotions from excited to trilled to just completely outraged." "We were the wake up call for the record companies." "We were the first time they were forced to recognise what was happening with content distribution on the internet." "When I was younger, I thought about that, and I was like; whoa!" "I want to be someone who does..." "Who makes something that can change the way people interact with media so much." "That was the most exciting bit to me about Napster and how in just one second it changed your mind about something." "Music today, is sort of streamed to us." "Obviously people buy records." "People don't really sit at home with the record and listen to Track" "1 through to Track 15." "We might go on Facebook, we'll get a track." "We go on Myspace and get another track." "Somebody will send one in an e-mail." "Music is this, sort of, stream of noise." "I remember when I was a kid, I went out and bought a record and it was this moment of pure concentration and joy of listening to every little bit, and looking through the vinyl and watching vinyl turn" "around with the needle in the groove." "It was a full kind of concentration." "Now, I always do something else when I listen to music." "Pretty much always." "It becomes like you're just processing data almost, if you do it all through a computer screen." "You're denying yourself the pleasure of just listening to music." "And you're making it just like another task, like checking your e-mails, or updating your" "Twitter, or whatever." "Like now I'm doing this, now I'm doing this, now" "I'm going to listen to some music." "I don't think we value it any less." "I think that we listen more personally on personal..." "Of course there were Walkmans and what nots in the 80's but you can't really go outside without seeing a million" "Ipods." "You sort of hear it here and there." "Perhaps it's more kind of... a way of listening is a bit more distracted, I'd say." "There is a psychology, I think, that's changed." "If you were going to see a movie and go to a theater, you would have to really think about it." "You have to get out of the house, you have to leave, and you have to make that decision, it's a big decision." "Where as if you're in front of you're computer, in your house, you've got two thousand movies." "And you can try one, you can stop it midway, you can try another." "They cost three dollars." "I realized the other night, that I was watching movie and reading a book at the same time." "That's like sacrilegious." "That's crazy." "Or, more often, watching a movie and checking my e-mail, or watching a" "TV show and doing my work." "We live in an incredibly attention deficit culture." "Even if you see the way the television is edited now , which is just like blam, blam , blam, blam." "Like grit." "If I watched a reality show or something on MTV, the way it is; a moment of footage cut together with a flashback, cut together with a graphic." "It's not about like a really about a strong desire to consume art." "And that's what a creator is up against." "Which is they are kind of having to trick people in watching what they make." "The invention of technology record music defined the music of the 20th century." "It all wanted to be recorded." "It all wanted to be out there and sold." "And that narrowed what music could be." "We're entering a period where time, place and occasion are going to be far more important elements of what music..." "How music is made and how we jointly experience it." "As people are able to now download freely, all the music that the artist has produced..." "It doesn't really, necessarily, identify you as a fan." "Because the guy next door has also downloaded it." "It didn't cost anything." "Therefore you are not really identifying yourself as a fan of the act." "But to go and see them live is a commitment, which identifies you as more of a fan." "And so I think that the 'live' side has probably benefited from the fact that it gives the true fan the opportunity to buy into the act and show that they are committed." "Because it's part of , what's known as a person's self." "Perhaps the experience is valued more." "The actual experience of seeing a one off." "Of seeing a situation which happens only that night." "Because recorded music feels cheaper now." "Because you can get a track for 79 pence." "And you don't really need to buy the whole album, you can just buy the track that you really like." "I think the whole live show is what's going to keep music dangerous." "No one is going to get surprised by an MP3, no one is going to get surprised by a record, if their always coming." "You're not getting a exited to wait in line on a Tuesday release day, to go buy your favorite record." "The record is going to show up one day and they are going to play it." "But a live show, who knows what's going to happen." "Anything can happen." "And it happened once." "When you have a CD or a MP3 you have a great flat it of music." "It's like that." "And when you have it live it's live that." "You know what" "I'm saying?" "I think people would miss that." "Miss that they're able to..." "That they can escape inside the music." "People say, there is no magic." "But what is that feeling when you see somebody live." "And you totally go out of your mind, you connect and you treasure that memory." "I have certain memories of Leonard Cohen live, and I will treasure them forever 'cause like what happened." "I get goosebumps." "We humans." "We evolved but we are finally animals." "So we like to dance and interact and have fun , or learn." "That's we are obsessed about." "It's great for the music environment and for the kids and for people, to just experience music for real." "I love that that's a part of the music industry again." "Or at least it's a part of my world again, which it wasn't really when" "I was a kid." "I was more of a club kid." "And live music was more for rockers." "I think a lot of musicians are now increasingly compelled to figure out how to stand on a stage and connect with an audience." "Whereas, before the connection was playing the one hit single that the audience might have heard on the radio." "And now the connection has to be a lot more genuine and a lot more human, in a way." "You can hear LCD Soundsystem on a record, the you can see LCD" "Soundsystem." "There's nothing comparable to seeing them live." "It's a completely different experience on how the artist approaches the audience." "Being the audience, one or two people or fifteen thousand people." "Proud to be here." "Likewise." "You smell bad." "It's a mixture." "Who goes first?" "I go first?" "Yeah." "Kind of." "Who goes first off?" "When do I go off?" "I bring you to the front..." "And" "I..." "Trust me." "Should I really?" "When we look back at the history of every other industry that got built in the 1920's and 30's, we wish we were there then." "Because..." "Wow!" "Wouldn't it have been cool, what we could've done." "This is even bigger than that." "And most people are ignoring it saying, "Oh there's a recession!" "Blah, blah, blah."" "This is the best shot you've ever got." "I think as an artist you have to accept the unexpected." "I think that right now, we're not in a world where we can determine or we can predetermine what we think things are going to be." "We're all operating in the dark." "We have no clue of what's going to happen." "And that, to me, is what makes it all fun." "I think that the music industry is changing." "And there's not going to be like one new solution that replaces everything else." "It's going to stay diverse and undefined for..." "Maybe forever." "It's going to be really interesting to look back in ten years at this point and see if the film industry has kind of leveled out and if there's a wave of things that are happening." "And if this incredibly fast rate of change stops or if this is sort of the reality for now on." "Which is that we're so technologically savvy that things are constantly shifting and there's not really stable ground." "The problem with the revolution was that in very simplistic (blank) terms, we assume that one world dies and is automatically replaced by the next." "That's not how revolutionary periods work." "That's not how the media works." "So we're destroyed the old world but we still don't know what is going to replace it." "We still don't know even if anything will replace it." "It's quite conceivable that we will see the end of a cultural economy." "It'll look like a pretty revolutionary time, I think." "I think it's a little bit hard to see when you're in the moment, always." "And hindsight always being 20-20, you'll look back and say, "Oh wow!" "Things were changing pretty apparently."" "I think in ten years when I look back on this I'm going to go :" "Wow!" "I can't believe that we didn't edit in the cloud." "I can't believe that we loved big cameras around." "You have to remember it's a very short history to pop music." "It's only been going in earnest since the mid 60's really, in the sort of form that we recognise it." "So there's nothing to say that the older models had any real legitimacy, that's just the way it sort of turned out." "I think that in twenty or thirty or fifty years, we're going to look back at now with sort of a wistful nostalgia." "Sort of like the same way we look back at cell phones twenty-five years ago." "Like: oh they were cute, they were big and clunky and they only worked in one part of the world." "Or like the way look back at vaudeville." "The way we look back at any sort of antiquated, outdated technology as like it was clunky, it was naive, and it had it's own charm, but we've moved on." "Partido Pirata Argentinio" "Busque en nuestro site los subtítulos en español" "Gracias a PressPausePlay por pasarnos los diálogos en inglés!" "Pensemos en nuevos modelos de negocios" "Cuidemos nuestra libertad, luchemos por ella!" "Únase al Partido Pirata Argentino!"