I Origins

Digital Booklet

You want to capture this thing, right here, this feeling, right in the periphery, hard to articulate, a strange fragile animal, something that will run away if you are not gentle, something when seduced to the stage is magnificent to behold, and sublime for a human to experience. That’s art, that’s filmmaking, that’s what a bunch of collaborators working together are doing.

I’ve been lucky in life to know Will Bates and Phil Mossman. They make incredible music. Their mind radios are dialed to the exact light frequency as mine. We communicate telepathically. Sometimes we use words, sometimes weird instruments. I was lucky to meet Bryce Edge, Radiohead’s manager, while making this project. He gets it. 100 million percent. His sensitivity to the humanness in humanity is rare. I love that. Phaedon is a maestro. Anyone's day, week, existence is elevated by his piano compositions. And I am lucky to have learned about The Do from Astrid, who played for me the track, Dust it Off, saying it reminds her of Sofi. And it does. It did for me. And now it does for everyone.

From disintegrating loops falling apart and coming back again in a kind of musical reincarnation, to stumbling piano notes that find their way into a rhythm that somehow feels a lot like new love, or rather a love that was there trying to find its footing, from Motion Picture Soundtrack playing during a scene in which no other song, sound or silence could have more perfectly articulated the moment, from the first track to the final shivering note, this album does it. This musical score, along with the actors, producers, and all the creative collaborators shining within the credits, have seduced that strange fragile animal – the emotional embodiment of the non-finality of death – up upon the stage to spend a moment in our company.