Consciousness, AI & Creativity with DUSTIN O’HALLORAN - Emmy Award-winning Composer

Consciousness, AI & Creativity with DUSTIN O’HALLORAN - Emmy Award-winning Composer

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Emmy Award-winning · Oscar-nominated Composer · Musician
1 0 0 1 · Silfur · Transparent · Lion

It's really like a journey from our connection with nature to where we are now, in this moment where we're playing with technology. We're almost in this hybrid space, not fully understanding where it's going. And it's very deep in our subconscious and probably much greater than we realize. And it sort of ends in this space where the consciousness of what we're creating, it's going to be very separate from us. And I believe that's kind of where it's heading – the idea of losing humanity, losing touch with nature and becoming outside of something that we have created.

How can music help us expand our understanding of consciousness & AI? - Highlights - DUSTIN O’HALLORAN

How can music help us expand our understanding of consciousness & AI? - Highlights - DUSTIN O’HALLORAN

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Emmy Award-winning · Oscar-nominated Composer · Musician
1 0 0 1 · Silfur · Transparent · Lion

It's really like a journey from our connection with nature to where we are now, in this moment where we're playing with technology. We're almost in this hybrid space, not fully understanding where it's going. And it's very deep in our subconscious and probably much greater than we realize. And it sort of ends in this space where the consciousness of what we're creating, it's going to be very separate from us. And I believe that's kind of where it's heading – the idea of losing humanity, losing touch with nature and becoming outside of something that we have created.

FABRIZIO MANCINELLI - Composer, Songwriter, Conductor

FABRIZIO MANCINELLI - Composer, Songwriter, Conductor

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Composer · Songwriter · Conductor
The Land of Dreams ·The Snow Queen 3 · The Boat · Food 2050 · Green Book

I'm always trying to find my place here because, yes, I'm American. I'm an immigrant. I don't want to talk about the difficulties I face in my coming here, but it was not easy. So when I was writing the song called “Give Up”, and it's like a song that I'm singing to myself. Those are things, like there is a lot of personal experience. I was a luxury immigrant on a Fulbright grant on a J-1 Sponsor Visa, you know, with a solid family I could go back to in Italy in case anything went wrong. But at the same time, it was not easy. I want to do my job with a smile on my face, and it brought me to write the lyrics like: 'It's my turn. My time is now.' It's like something that I'm trying, we all try to get our turn to be our moment, to shine our moment. We're all waiting. We don't know if it will happen, but we need to try at least. We need to grab our life with our hands and make it work one way or another. So that's what I mean in my song “Orlando Dreams.”

Highlights - MAX RICHTER - Award-winning Composer - Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival, Taboo

Highlights - MAX RICHTER - Award-winning Composer - Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival, Taboo

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Award-winning Composer & Pianist
His album Sleep is the most streamed classical album of all time
Film & TV scores for Ad Astra · Black Mirror · Shutter Island · The Leftovers · Arrival · Taboo

For me, the creative process is a sort of a continuous thing in the sense that I'm writing kind of all the time, at some level. And that doesn't mean I'm sitting at my desk all the time, but it does mean that I've got a continuous thought process, a continuous engagement with the material I'm trying to shape. And it's many different kinds of processes. First of all, obviously an intention. You need to have an intention. What is it I'm trying to do? But then you get a process of making things, and then you get into a process of dialogue with the things you've made where they start to take on properties and it feels like the material has intentions of its own.

So then you are trying to - it's like herding cats, you know? - sort of corralling this material into some kind of structure, some kind of formed object. Then it becomes like a sculptural process on the large scale.

MAX RICHTER - Award-winning Composer & Pianist - Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival, Taboo

MAX RICHTER - Award-winning Composer & Pianist - Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival, Taboo

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Award-winning Composer & Pianist
His album Sleep is the most streamed classical album of all time
Film & TV scores for Ad Astra · Black Mirror · Shutter Island · The Leftovers · Arrival · Taboo

For me, the creative process is a sort of a continuous thing in the sense that I'm writing kind of all the time, at some level. And that doesn't mean I'm sitting at my desk all the time, but it does mean that I've got a continuous thought process, a continuous engagement with the material I'm trying to shape. And it's many different kinds of processes. First of all, obviously an intention. You need to have an intention. What is it I'm trying to do? But then you get a process of making things, and then you get into a process of dialogue with the things you've made where they start to take on properties and it feels like the material has intentions of its own.

So then you are trying to - it's like herding cats, you know? - sort of corralling this material into some kind of structure, some kind of formed object. Then it becomes like a sculptural process on the large scale.

BENH ZEITLIN

BENH ZEITLIN

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Writer, Director & Composer

I think it goes to this feeling of freedom, looking how freedom changes as you grow, being a very particular type of freedom that children have just by the nature of not having learned what the rules are. As we grow, we start to limit what we believe is possible. When you’re a kid, there isn’t a delineation between this is real, and this is my imagination. It’s all real. That’s your life experience.

(Highlights) CARTER BURWELL

(Highlights) CARTER BURWELL

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Interview Highlights

So my musical education just completely killed any interest in music I would have had. And it was only later when I was a teenager a friend showed me a little bit about improvisation on the piano and that got me back into playing and that's why I'm doing this now. It was very therapeutic as a teenager, as an adolescent just to sit at the piano and just express things that I couldn't express in some other way.

CARTER BURWELL

CARTER BURWELL

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Film Composer

When I look at a film, I normally think what is missing from that, and that's what I'm trying to bring. I'm trying to find something that I think isn't there and that I could bring that would make it more interesting, make it more cinematic, more dramatic.