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00:00I don't know what to do.
00:32Hello
00:34Elias, it's Richard
00:37I got them, I was in the middle of something
00:39The label is asking about the new album
00:42Cassette and CD versions
00:43Both need to go to mastering by the end of next month
00:45Do you have anything yet?
00:47I'm working on it
00:48You said that three weeks ago
00:49Elias, I need something, even a sketch
00:51Just let me know you're not stuck
00:54I'm not stuck
00:56You always say that when you're stuck
00:59Look, just come to the meeting on Friday
01:02Play something, anything
01:04They need to hear progress
01:05Fine, Friday
01:56Function and C
01:58Function and C
02:06you've been standing there for a while your left hand in the third bar that was e minor seven flat
02:11five was it i wasn't paying attention you played the chap in pre-ode opa 28 number four but you
02:18changed the voing on the descending baseline you caught that let me guess you play yes
02:28classically trained judging by the posture and the watch nobody who didn't study piano
02:34wears their watch on the left wrist with the face on the inside that's specific i've been playing on
02:40the street for six years you learn to read people fast tips are better when you know who's listening
02:48so what brings a classical pianist to a coffee shop in the lower east side at 10 o'clock on
02:52a
02:52tuesday night i was walking people don't walk in this neighborhood at this hour unless they live
02:57here or they're lost maybe i'm lost
03:06something i don't know what it is i just know i don't have it that's vague
03:11i know play something here yeah that thing's been sitting there all night nobody's touched it
03:17the owner lets me play when i'm around he says it keeps people buying coffee
03:27you're thinking too much you're trying to say the perfect thing before you say it
03:31but music isn't about the perfect thing it's about the real thing what if the real thing isn't good
03:36enough that's not for you to decide you put it out there people decide so you want to keep
03:42talking or do you want to play something together i have a studio downtown piano a real one if you're
03:52interested are you inviting me to your place i'm inviting you to work with me i need a collaborator
03:58you hear things i don't hear room food i'll pay you how much we'll figure it out
04:09you're weird
04:16i know i know okay okay yeah okay but i want to see the piano or first if it's out
04:26of tune i'm walking
04:41you're here same thing to some people
04:54check the tuning
05:06it's fine a little bright in the upper range but fine i have it tuned every three weeks
05:13show off
05:17so what are we doing
05:23this is the opening four bars i've ridden it 43 times i still don't like it
05:29let me see
05:39you're holding back the first two bars want to go somewhere but you keep pulling it back to the
05:43starting point i'm establishing the theme you're tying one hand behind your back let it move
05:54play that again the part where you went up
06:00you want to try it
06:08i can't you mean you won't it's not how i hear it then hear it differently
06:37elias you can do it you just don't trust yourself
06:42i don't trust easy i noticed
06:51can we play this while we work you don't find it distracting
06:54no i find it company
07:20you have any sugar no
07:31honey
07:35why would i have honey i don't know to put in coffee some people do that
07:54you look like the kind of person who orders takeout every night and eats it over the sink
08:03what is that supposed to mean
08:06it means you don't cook
08:08and you probably don't eat breakfast and the only reason there's milk in your fridge is because you put it
08:12in your coffee
08:15you're very observant street survival skill
08:21i'm making omelets
08:22you can watch or you can help but either way you're eating one
08:26i don't usually eat breakfast
08:28i know
08:29that's why you're so tense
08:37you do this every morning when i can afford eggs
08:49good
08:50it's fine
08:52you're impossible
09:03where did you learn to cook
09:04my grandmother
09:04she ran a diner in queens
09:06i used to work the breakfast shift when i was 15
09:08and she taught you to play piano too
09:09no
09:10i taught myself
09:11she had an old upright in the back room
09:13customers would play it sometimes
09:14one day i sat down and figured out chopsticks
09:16a week later i figured out the rest
09:18you never had a teacher
09:21never needed one
09:24that's not possible
09:29why
09:29because you had five
09:34three
09:34i had three teachers
09:41see we're not that different
09:43we're very different
09:46maybe that's the point
09:47come on
09:48let's go finish that four bars before you change your mind
10:25this isn't working
10:27you've been on that same bar for three hours
10:29because it's not right
10:31have you tried leaving it alone and coming back to it
10:34that's not how i work
10:44can i see the piano
10:46it's a piano
10:47you don't need permission
10:57that's too sparse
10:58you lost the harmonic
11:15what about this
11:18better
11:23this is good
11:35you smiled
11:36i did not
11:37you did
11:38just now
11:39when you wrote that last note
11:41you smiled
11:50we're keeping this
11:51obviously
12:04karen
12:05karen
12:05yeah
12:10that thing you said yesterday
12:12about me not trusting myself
12:17i remember
12:21you were right
12:28you okay
12:33i don't say that often
12:37i know
12:49it sounds like you
12:51it sounds like you
12:52is that good
12:54i don't know yet
12:56but it sounds like you
13:18you look like a spy
13:21i'm collecting
13:25collecting what
13:26the city
13:27the way it sounds
13:28when it's not trying to sound like anything
13:32you're missing the good part
13:33what good part
13:44perfect a flat
13:45it's out of tune
13:47no
13:48it's exactly where it's supposed to be
13:59you heard that as a note
14:01everything is a note
14:02if you listen right
14:07there's a fountain two blocks away
14:09the water pressure does this thing
14:10where it hits the edge of the basin
14:11it makes a chord
14:21come here
14:23put your hand in
14:25it's cold
14:26that's the point
14:37it's freezing
14:38now close your eyes
14:45do you hear it
14:48i feel it
14:50same thing
14:57i've walked past this fountain a hundred times
15:01i never put my hand in
15:03that's the difference between you and me
15:05what is
15:07you look
15:08i touch
15:18you're gonna put that in the piece
15:21i don't know yet
15:23but i want to have it
15:26that's new
15:28you didn't keep things before
15:30you threw them away if they weren't perfect
15:33maybe i'm learning
15:34come on
15:35let's go get the subway
15:36the f train has this brake squeed
15:38that sounds like a minor second
15:40you'll love it
16:07you kept that
16:08you kept that
16:10kept what
16:13me laughing
16:16it's a sound
16:17like all the others
16:19no
16:20it's not
16:26play it again
16:28i sound like a kid
16:30i sound like a kid
16:31you sound like you
16:33same thing
16:40elias
16:41you know what i think
16:42what
16:43i think you've been listening to music that's too clean for too long
16:46scores
16:46additions
16:47urtext
16:48everything neat and tidy
16:49but music isn't neat
16:50it's messy
16:51it's a guy dropping a wrench in a hardware store
16:53and someone laughing at a train station
16:55that's what you think i'm missing
16:57that's part of it
17:00what's the other part
17:10you
17:11you
17:11you
17:11you
17:11you
17:12you
17:44What was that?
17:45The second movement.
17:47The climax.
17:48It sounds like a building collapsing.
17:51That's the point.
18:00You've been working on this for three days straight.
18:04It's almost there.
18:06It's not almost there.
18:07It's getting further away.
18:09You're building a fortress.
18:12Every note is a brick.
18:13You're stacking them higher and higher until nobody can get in.
18:16That's called structure.
18:18Counterpoint.
18:19Voice leading.
18:20No.
18:21That's called fear.
18:23What do you know about fear?
18:24You've never written a piece longer than two minutes.
18:27You play on street corners for people who aren't even listening.
18:29You've never had to stand in front of an orchestra and deliver something that will be judged by critics who
18:34hate everything you stand for.
18:35And what do you know about music?
18:37You've been so busy building your fortress that you forgot what music sounds like when someone actually feels it.
18:50This isn't music.
18:51This is architecture.
18:53It's beautiful and cold and nobody can live in it.
18:55And yours is a food cart.
18:56Warm but shallow.
18:57It comes and goes and nobody remembers it five minutes later.
19:02Time to breathe.
19:04I don't know.
19:37I don't know.
20:06Elias.
20:07It's Richard. How's the album coming?
20:09It's coming.
20:10That's what you said last week. The label needs a delivery date. Can you give me something? A track list,
20:15a title, anything?
20:16Soon.
20:17Define soon.
20:23Two weeks.
20:24I'm writing that down. Two weeks. You promised.
20:27I know.
20:35I know.
20:51I haven't seen you in a few days. Where's the serious guy? I don't know.
20:56You two have a fight?
21:01You know why he came in that night, the first night? He stood outside for 20 minutes. I saw him
21:06through the window. He was just standing there, listening to you play. 20 minutes. Then he pushed the door.
21:1620 minutes. 20 minutes. I thought he was going to rob the place, but he was just listening.
21:29I don't know.
21:38He was just sitting there. He was just sitting there. I thought he was just sitting there. We share it.
21:43It's all I'd say. He's intervened. It's sitting there here. He's having a feeling. apocalypse.
22:01I'm not going to make a scene.
22:02I'm just going to get my stuff and go.
22:10You don't need me.
22:13What?
22:14That's what you said.
22:16That I don't need you.
22:18That I just need a tool to break the block.
22:21And when the piece is done, you're gone.
22:25I said that because it's true.
22:28If you really believed that, you wouldn't have stayed.
22:39So what are you saying?
22:40That you need me?
22:41I'm saying that if that's how you see it, you never should have come in the first place.
22:44So you're kicking me out?
22:52Fine.
22:53Fine.
22:54You think it's easy for me?
22:56You think leaving is hard?
22:58Try staying.
22:59Try staying when you know that every day you're going to sit in front of that piano and you're
23:03not going to be able to write a single note.
23:06You know what's going to happen after you leave.
23:07I'm going to sit here.
23:08I'm going to look at that piano and I'm not going to write anything.
23:11Not because I can't.
23:13Because I won't.
23:14Because you took the music with you when you walked out.
23:16Because I'm afraid you'll say yes out of pity.
23:20And what if I stay because I want to stay?
23:26You're an idiot.
23:27I know.
23:32I'm not leaving.
23:34Karen.
23:34I'm not staying because I pity you.
23:36I'm staying because I don't have anywhere else to go.
23:38And because I want to finish this piece.
23:40And because...
23:53Just don't ask me to explain it right now.
23:58Okay.
24:32I'm writing what I hear.
24:35Hear.
24:36What you hear should be the logical continuation of the tradition.
24:38Vay-Nun, Buas, the Downsburn School.
24:41Not this...
24:42Populitic nonsense.
24:44You're better than this, Elias.
24:45I'm writing what I believe in.
24:46What you believe in.
24:47You believe in triads and melodies that people can hum.
24:50That's not composition, Elias.
24:51That's entertainment.
24:52The old professors at the academy are still calling your music pop.
24:56They say you've betrayed serialism.
24:57And you know what?
24:58I'm starting to agree with them.
25:02Who was that?
25:03My teacher.
25:06He doesn't like what you're writing.
25:15The old professors at the academy are still calling my music pop.
25:19They say I've betrayed serialism.
25:22You want to hear something funny?
25:26I could use something funny.
25:31Last week I was playing in Central Park.
25:33Just playing my stuff.
25:34And these guys come over.
25:35Rappers.
25:35They told me to leave.
25:37Said piano is white people's shit.
25:38They said that?
25:46We're both stuck between things.
25:48What do you mean?
25:50You're too classical for the streets.
25:52Too street for the academy.
25:54I'm too modern for the traditionalists.
25:57Too traditional for the modernists.
25:58We don't fit anywhere.
26:02Maybe that's why we...
26:25This is good.
26:27Which part?
26:28All of it.
26:29The way we're talking.
26:34You know what I think?
26:36What?
26:37I think we should write two pieces.
26:40Not one.
26:41Two that talk to each other.
26:43Like this.
26:44You write one.
26:45I write one.
26:47And they answer each other.
26:52A diapetraf.
26:55A what?
26:56Two panels.
26:57Two pieces.
26:58They face each other.
27:00They don't need to be played together.
27:02But they should be heard together.
27:10Yeah.
27:11That.
27:14You write the first one.
27:16I'll write the second.
27:17No looking until they're done.
27:23That's the point.
27:27Done.
27:28The first section.
27:29Can I see it?
27:30No.
27:31You said no looking.
27:35I changed my mind.
27:42That's it.
27:42Just a nod.
27:43What do you want me to say?
27:44It's good.
27:45I already knew it would be good.
27:53I don't understand this.
27:55You don't need to understand it.
27:57You need to feel it.
28:00To feel it.
28:11I think I'm starting to.
28:13Good.
28:16I don't know anymore if I need your music or if I need you.
28:22Does it matter?
28:40Elias.
28:42You didn't answer your phone.
28:43I left three messages on your pager.
28:45I was working.
28:51I can see that.
28:54He needs a progress report.
28:57Track listing.
28:58Estimated row time.
29:00Expected delivery date.
29:02All of it.
29:02I told you.
29:05Two weeks.
29:07Two weeks from when.
29:08It's been ten days since that call.
29:17Who's this?
29:19He's my collaborator.
29:24Collaborator.
29:25On what?
29:26On the album.
29:32I see.
29:40Can I speak with you alone?
29:50This album has your name on it.
29:52Not his.
29:53Are you sure you want him on the credits?
29:55He wrote half of it.
30:05Half of what?
30:06The melodies.
30:06The chord changes.
30:07That doesn't make him a co-composer.
30:09That makes him a session musician.
30:10He's not a session musician.
30:12He's.
30:19He's what?
30:19Your muse.
30:20Your boyfriend.
30:20I don't care what he is to you.
30:22I care about the contract.
30:23The contract says Elias Walker.
30:25Solo piano.
30:26Not a duo.
30:27I'll talk to him.
30:31Talk to him about what?
30:32About giving up his credit?
30:34About being paid as a freelancer?
30:36And walking away?
30:37You need to decide, Elias.
30:38This is your career.
30:40Not a leisure games.
30:43I'll call you in three days.
30:45Have an answer.
30:57You heard.
31:01Enough of it.
31:04Were you ever going to tell me I was going to figure it out first?
31:12Figure what out?
31:13Whether I get a credit.
31:14Whether I exist.
31:17That's not fair.
31:19No.
31:20What's not fair is you letting me think we were doing this together when all along you were planning to
31:24erase my name.
31:27That's not what I was planning.
31:29Then what were you planning?
31:31Tell me.
31:32Right now.
31:37That's what I thought.
31:43Karen, wait.
31:44Wait for what?
31:45For you to tell me that my name doesn't matter?
31:46That my music doesn't matter?
31:47That I'm just some street musician who should be grateful for the room and the food?
31:53That's not what I think.
31:58Then what do you think?
31:59Because from where I'm standing, it looks like you were going to use me and throw me away.
32:10Don't.
32:12You had your chance to say something.
32:14You didn't.
32:20Karen.
32:37I don't know.
32:51The serious guy.
32:53Haven't seen you in a while.
32:57Have you seen Karen?
33:01He was here.
33:03Yesterday.
33:04Got a cup of coffee, sat in that corner for an hour, then left.
33:10Did he say where he was going?
33:12No, but he looked...
33:14I don't know.
33:15Not great.
33:16His eyes were red.
33:18If he comes back, can you tell him I'm looking for him?
33:22Sure.
33:23You want a coffee?
33:26No.
33:27Thanks.
33:29Thanks.
33:31Thanks.
33:35Thanks.
33:54Bye.
34:37You were right.
34:39About what?
34:39The museum.
34:41My music.
34:42It's a museum.
34:43It's beautiful and it's dead.
34:45But I don't know how to make people stop and feel it.
34:48I only know how to make them admire it.
34:50From a distance.
34:53And you think I know?
34:58You make people stop.
35:00I make people stop because they're waiting for the light to change.
35:03They're not listening.
35:04They're just waiting.
35:06You said my words weren't all wrong.
35:09That you're afraid of leaving something behind because that means someone would miss you.
35:17I remember.
35:21I miss you.
35:29You don't get to say that.
35:31I know.
35:32You don't get to say that after what you did.
35:34I know.
35:38You had mine.
35:40I took it back when I left.
35:41So now you get this one.
35:49We're not opposites, are we?
35:51No.
35:54We're just on different roads to the same place.
35:59What place?
36:01Somewhere people stop and listen.
36:04Really listen.
36:10What are you doing?
36:12Playing something with you.
36:13On this out of tune thing.
36:36There you are.
36:44I'm here.
36:59It's starting to look like one piece, not two.
37:07It's still two, but they're facing each other.
37:22You can put as much sugar in as you want.
37:27I know.
37:28That's why I'm still here.
37:32Stuck.
37:33No.
37:34I just want to hear something.
37:49I've never played anything I actually cared about before.
37:56Neither have I.
37:59It doesn't sound like you.
38:01It doesn't sound like me.
38:16It sounds like us.
38:28I'm not your show palm, Karen.
38:30I'm not going to write something that changes the world.
38:32But I'll be the one who catches you after every mojitation.
38:35The one who follows wherever you take the melody.
38:37And the one who stays until the last note.
38:40I'm not going anywhere.
38:41I'm not going anywhere.
38:59I'm not going anywhere.
39:11What are you writing?
39:13Something new.
39:14For us.
39:35For us.
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