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Downloaded from
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Official YIFY movies site:
YTS.MX

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(low, indistinct chattering)

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(indistinct chatter
grows louder)

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TÁR:
You ready?

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No, just... Yeah, just-just
ignore the microphone.

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Yeah, just-just act as if
it's not there.

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Sing as if it's not there.

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Yeah, uh... (stammers
speaking foreign language)

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Okay?

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(woman speaking
foreign language)

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(woman singing
in foreign language)

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(singing continues)

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♪ ♪

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♪ ♪

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♪ ♪

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♪ ♪

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♪ ♪

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♪ ♪

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(singing ends, woman sighs)

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(sniffs)

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(exhales)

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(audience chattering)

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(exhales)

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(inhales deeply)

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(inhales deeply)

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(exhales slowly)

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(exhales sharply)

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(audience continues chattering)

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(sniffs)

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(sniffs)

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-Ready for them?
-Yes.

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Let's go.

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(applause)

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(applause quiets)

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ADAM GOPNIK: If you're here,
then you already know

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who she is, and that is one
of the most important

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musical figures of our time.

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Lydia Tár is many things:

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a piano performance graduate
at the Curtis Institute,

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Phi Beta Kappa from Harvard.

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She got her PhD in Musicology
from the University of Vienna,

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specializing in
the indigenous music

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of the Ucayali Valley
in Eastern Peru,

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where she spent five years

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among the Shipibo-Konibo people.

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As a conductor,
Tár began her career

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with the Cleveland Orchestra,

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one of the so-called
"Big Five."

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A string of
important posts followed,

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including
the Philadelphia Orchestra,

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the Chicago Symphony Orchestra,

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the Boston Symphony Orchestra,

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until she at last arrived here

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at our own
New York Philharmonic.

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With the latter, she organized

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the Highway 10
refugee concerts in Zaatari,

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which were attended
by over 75,000 people.

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She's become particularly
well-known

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for commissioning
contemporary work

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from, among others,
Jennifer Higdon, Caroline Shaw,

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Julia Wolfe
and Hildur Gudnadóttir.

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And she's made a point
of programming their works

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alongside composers
of the canon.

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She's been quoted as saying,

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"These composers
are having a conversation

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and it may not always
be so polite."

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Lydia Tár has also written
music for the stage and screen.

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She is in fact one of only 15
so-called EGOTs, meaning those

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who have won all four
major entertainment awards:

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an Emmy, a Grammy,
an Oscar and a Tony.

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It is, as you can imagine,

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an extremely short
and shimmering list

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that includes Richard Rodgers,
Audrey Hepburn,

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Andrew Lloyd Webber
and, of course, Mel Brooks.

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(audience laughing)

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GOPNIK: In 2010, with
the support of Eliot Kaplan,

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she founded the Accordion
Conducting Fellowship,

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which fosters entrepreneurship
and performance opportunities

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for female conductors,
allowing them residencies

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with major orchestras
around the world.

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In 2013, Berlin elected Tár
as its principal conductor,

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in succession to Andris Davis,

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and she's remained there
ever since.

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Like her mentor,
Leonard Bernstein,

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Tár has a particular
affinity for Mahler,

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whose nine symphonies
she recorded

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during her Big Five stints.

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However, she never managed
to complete

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the so-called "cycle" with
a single orchestra until now.

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Under her direction,

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Berlin has recorded eight
of the Mahler symphonies,

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saving the big one,
Symphony No. 5, for last.

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Due to the pandemic,
that performance,

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which was scheduled for
last year, had to be canceled.

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But I'm told that next month,

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she'll make a live recording
of Mahler's Fifth,

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which will complete the cycle

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and will be issued in a box set
by Deutsche Grammophon

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just in time
for Mahler's birthday.

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As if that's not enough,
her new book, Tár on Tár,

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will be published by Nan
Talese's imprint at Doubleday,

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just in time for Christmas,
a perfect stocking stuffer,

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especially if you have
a very large stocking.

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(audience laughing)

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All of us at The New Yorker
welcome you.

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Thank you for joining us,
Maestro, today.

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Thank you, Adam. Thank you.

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-(applause)
-Thank you.

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Lydia, I couldn't...

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I couldn't help but see you
flinch just a little bit

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as I was reading your bio.

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Was it because I forgot
some other amazing achievement?

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Or do you have
a slight self-consciousness

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about the incredibly
varied things

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that you've accomplished?

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Well, in today's world,
"varied," it-it's a dirty word.

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I mean,
our era is one of specialists,

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and if you're trying to do
more than one thing,

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it's, you know,
it's often frowned upon.

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Every artist gets typecast.

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Oh, yes. Aggressively so.

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Well, do you think there'll be
a moment, though,

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when the classical music
community,

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uh, decides not to use
sexual distinctions

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to differentiate artists?

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I'm probably
the wrong person to ask

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since I don't, uh,
read reviews.

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-Never, really?
-No.

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But it is odd, I-I think,
that anyone ever felt compelled

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to substitute
"maestro" with "maestra."

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I mean, we don't call women
astronauts "astronettes."

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-GOPNIK: Mm-hmm. Right.
-(audience chuckling)

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But as to the question
of, uh, gender bias,

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I really have nothing
to complain about.

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Nor, for that matter, should
Marin Alsop, JoAnn Falletta,

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uh, Laurence Equilbey
and Nathalie Stutzmann.

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I mean, there's so many
incredible women

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who came before us.

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You know, women who did
the-the real lifting.

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That-that's fascinating.

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Can you... Who, for instance?

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Uh, okay, sure.

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Uh, first and foremost,
Nadia Boulanger.

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I mean, that would be
the, uh, happy example.

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Uh, the sad one would be
Antonia Brico,

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who by all accounts
was an incredible conductor

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but was ghettoized
into the nonglamorous status

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of a "guest conductor"

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and essentially
treated as a dog act.

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A dog...
Uh, she never got the chance

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to lead a major orchestra?

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Well, yes.
Yes, she did, uh, conduct

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the, uh, Berlin Philharmonic,
as well as the Met,

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but, again,
only as a guest conductor.

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You know, at, I mean,
at that time it was...

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it was all gender spectacle.

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But fortunately, times change,

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and-and the Pauline
conversion is...

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-(chuckling): "Pauline..."
-... if not complete,

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then it's-it's evolving nicely.

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N-No less, um,
having fallen off its horse.

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Um, Lydia, could we talk
a little bit

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-about, uh, translation?
-Mm-hmm.

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'Cause I think
there's still people

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who think of the conductor
as a kind of human metronome.

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Well, yeah,
that's-that's partly true.

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-Yeah, but it's...
-But keeping time,

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it's-it's no small thing.

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But I suspect there's
a lot more to it than that.

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Yeah, well,
I-I would hope so, yes.

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-But time is the thing.
-Uh-huh.

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Time is-is the essential piece
of, uh, interpretation.

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You cannot start without me.

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See, I start the clock.

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Now, my left hand shapes,
but my right hand,

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the second hand, marks time
and moves it forward.

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However, unlike a clock,
sometimes my second hand stops,

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which means that time stops.

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Now, the illusion is that,
like you,

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I'm responding to
the orchestra in real time...

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-Right, right. -... making the
decision about the right moment

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to restart the thing,
or reset it,

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or throw time out
the window altogether.

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The reality is that right
from the very beginning,

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I know precisely
what time it is...

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-Really? That's...
-... and the exact moment

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that you and I will arrive
at our destination together.

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You know, the only real,
uh, discovery for me

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is in rehearsal.

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It's never,
never in performance.

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Hard question, I know, but
if you could define one thing

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that Bernstein gave you,
what would it be?

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Kavvanah.

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Yeah, it's-it's the Hebrew word

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for attention to meaning
or-or intent.

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You know, what are
the composer's priorities,

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and what are yours, and how do
they complement one another?

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Right, kavvanah. I think
that's a word that will have

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a slightly different meaning
for many in our audience.

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-Well, yes, yes, I imagine so.
-(audience murmuring)

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Am I right in thinking
that a conductor

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was not always, uh,
an onstage presence

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-in classical music?
-No, that's right.

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I-I think I read someplace
that it actually was

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the first violin, for a long
time, who was responsible.

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Yes, the first violinist,
whether they had any interest

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or-or skill in it or not.

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Wh-When did that change,
and-and who changed it?

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With the French composer,
Jean-Baptiste Lully,

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who reportedly, uh,
used a, uh, rather enormous,

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rather pointy staff to pound
the tempi into the floor.

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It's not something I imagine

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the players particularly,
uh, appreciated.

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Uh, anyway, uh, that technique
ended during a performance

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when Lully accidentally

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stabbed himself in the foot
with the thing and died.

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-(audience laughter)
-Yeah, of-of-of gangrene.

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But anyway...

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00:13:47,827 --> 00:13:50,663
-(applause)
-Yeah.

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Anyway, but the conductor

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really becomes essential
as the ensembles get bigger.

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And once again,
we go back to Beethoven.

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♪ Buh, buh, buh, bum,
buh, buh, buh, bum. ♪

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Now, that doesn't start
with the eighth note.

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The downbeat--
♪ Buh, buh, buh ♪--

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it's silent, right?

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So someone had to start
that clock.

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Someone had to, uh,
plant their flag in the sand

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and say, "Follow me," you know?

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And when that someone was
Lenny, the orchestra was led

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on the most extraordinary
tour of pleasures.

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'Cause he knew the music,
Mahler especially,

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as well or better than anyone.

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And he would often play
with the form.

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'Cause he wanted an orchestra
to feel

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that they had never seen,
let alone heard

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or-or performed
any of that music.

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So he-he would do
radical things,

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like, uh, disregarding
the tempo primo

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or-or ending this phrase
molto ritardando,

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even though
it had no such marking.

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Was he over-egging it?

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00:14:51,808 --> 00:14:53,351
Oh, no, no, no. Not at all.

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He, he, he celebrated the joy
of his discovery.

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You just told us a moment ago

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that your discovery
takes place in rehearsal.

248
00:15:01,150 --> 00:15:03,861
When will that process
begin again for you?

249
00:15:04,654 --> 00:15:06,197
We start on Monday.

250
00:15:06,197 --> 00:15:08,074
-Immediately?
-Mm.

251
00:15:08,074 --> 00:15:10,535
With this one,
it really is about

252
00:15:10,535 --> 00:15:15,039
trying to read the tea leaves
of-of Mahler's intention.

253
00:15:15,039 --> 00:15:16,582
I mean, we know a great deal
about this

254
00:15:16,582 --> 00:15:18,334
with his other symphonies.

255
00:15:18,334 --> 00:15:20,628
You know, he was so inspired
by the poetry of Rückert

256
00:15:20,628 --> 00:15:22,922
that for years he didn't set
another author to music.

257
00:15:22,922 --> 00:15:25,967
But all of this changes
with the Five.

258
00:15:25,967 --> 00:15:28,344
The Five is a mystery.

259
00:15:28,344 --> 00:15:31,013
And the only clue he leaves us

260
00:15:31,013 --> 00:15:33,015
is on the cover
of the manuscript itself.

261
00:15:33,015 --> 00:15:37,145
Yes, the-the dedication
to his new wife, Alma.

262
00:15:37,145 --> 00:15:39,188
So if you're gonna partner
with Mahler

263
00:15:39,188 --> 00:15:41,941
on his, uh, fifth symphony,

264
00:15:41,941 --> 00:15:43,526
the first thing you must do

265
00:15:43,526 --> 00:15:48,114
is try to understand
that very complex marriage.

266
00:15:48,114 --> 00:15:50,867
And would you say that you have
a different interpretation

267
00:15:50,867 --> 00:15:53,161
of that marriage
than Bernstein did?

268
00:15:54,829 --> 00:15:59,417
You mentioned my ethnographic
fieldwork in the Amazon.

269
00:15:59,417 --> 00:16:02,128
Well, Adam, the Shipibo-Konibo

270
00:16:02,128 --> 00:16:04,881
only receive an icaro, or song,

271
00:16:04,881 --> 00:16:06,549
if the singer is there, right?

272
00:16:06,549 --> 00:16:10,428
On the same side of the-the
spirit that-that created it.

273
00:16:10,428 --> 00:16:13,973
And in that way, the past
and the present converge.

274
00:16:13,973 --> 00:16:17,560
It's the flip sides
of the same cosmic coin.

275
00:16:17,560 --> 00:16:20,646
That definition of fidelity
makes sense to me.

276
00:16:20,646 --> 00:16:23,024
But Lenny,
he believed in teshuvah.

277
00:16:23,024 --> 00:16:25,568
The Talmudic power
to reach back into time

278
00:16:25,568 --> 00:16:28,487
and-and transform
the, uh, significance

279
00:16:28,487 --> 00:16:30,156
of one's past deeds.

280
00:16:30,156 --> 00:16:34,368
So when he played the Adagietto
at Robert Kennedy's funeral,

281
00:16:34,368 --> 00:16:36,495
it ran for 12 minutes.

282
00:16:36,495 --> 00:16:39,040
-He treated it as a mass.
-(agreeing murmur)

283
00:16:39,040 --> 00:16:40,791
And, you know, if you listen
to a recording of it,

284
00:16:40,791 --> 00:16:44,629
you will no doubt feel
the tragedy and-and the pathos.

285
00:16:44,629 --> 00:16:47,173
And of course
that, uh, interpretation

286
00:16:47,173 --> 00:16:49,258
was very true for Mahler
later in life,

287
00:16:49,258 --> 00:16:51,385
after the professional bottom
dropped out

288
00:16:51,385 --> 00:16:53,429
and Alma had left him
for Gropius.

289
00:16:53,429 --> 00:16:58,768
But, as I said before,
we are dealing with time.

290
00:16:58,768 --> 00:17:03,272
And this piece was not born
into aching tragedy.

291
00:17:03,272 --> 00:17:05,691
It was born into young love.

292
00:17:05,691 --> 00:17:08,069
And so you chose...

293
00:17:08,069 --> 00:17:09,654
Love.

294
00:17:09,654 --> 00:17:12,573
-(audience murmuring)
-Right, but precisely how long?

295
00:17:12,573 --> 00:17:14,116
(quietly):
Well...

296
00:17:14,116 --> 00:17:16,202
seven minutes.

297
00:17:16,202 --> 00:17:18,412
(laughter)

298
00:17:20,039 --> 00:17:23,209
WOMAN: I was so taken
by what you said to Adam

299
00:17:23,209 --> 00:17:26,545
about, um, interpretation

300
00:17:26,545 --> 00:17:29,840
and specifically about feelings,

301
00:17:29,840 --> 00:17:32,093
and that you chose love.

302
00:17:33,135 --> 00:17:35,596
And I know it's said
that you should leave the tears

303
00:17:35,596 --> 00:17:37,807
for the audience, but...

304
00:17:37,807 --> 00:17:40,601
do you ever find yourself
overwhelmed by emotion

305
00:17:40,601 --> 00:17:42,311
when you're up there
at the podium?

306
00:17:42,311 --> 00:17:44,188
-TÁR: Yes.
-(sighs)

307
00:17:44,188 --> 00:17:46,065
Yes, that does happen.

308
00:17:46,065 --> 00:17:49,193
There's an...
an expectation-reward cycle

309
00:17:49,193 --> 00:17:51,404
with some works
and the spots in them

310
00:17:51,404 --> 00:17:54,407
that I find so incredible,
that when I'm conducting,

311
00:17:54,407 --> 00:17:56,867
it's not that
I'm rushing exactly,

312
00:17:56,867 --> 00:17:59,495
but, oh, I just can't wait
to get to that spot,

313
00:17:59,495 --> 00:18:01,956
and, yeah, it does it.
It does it every time.

314
00:18:01,956 --> 00:18:03,416
(laughs softly)

315
00:18:03,416 --> 00:18:05,584
So it's physical
as well as emotional.

316
00:18:05,584 --> 00:18:07,628
-Hmm. Hmm.
-God, it must take hours

317
00:18:07,628 --> 00:18:09,797
to come back down to earth.

318
00:18:09,797 --> 00:18:13,175
You say things after others
remember, but you won't.

319
00:18:13,175 --> 00:18:15,428
And sleep, it's impossible.

320
00:18:15,428 --> 00:18:17,430
It's like my freshman year
at Smith.

321
00:18:17,430 --> 00:18:19,390
(Tár chuckles)

322
00:18:19,390 --> 00:18:20,683
(sighs)

323
00:18:20,683 --> 00:18:22,518
Which piece does that to you?

324
00:18:22,518 --> 00:18:23,978
Oh, I saw you.

325
00:18:23,978 --> 00:18:26,397
I saw you conduct, uh,
The Rite of Spring

326
00:18:26,397 --> 00:18:27,815
at the Met last year.

327
00:18:27,815 --> 00:18:29,859
It was so powerful.

328
00:18:29,859 --> 00:18:32,069
TÁR:
Thank you. Thank you.

329
00:18:32,069 --> 00:18:35,239
It's...
It's the 11 pistol shots--

330
00:18:35,239 --> 00:18:36,615
it's a prime number--

331
00:18:36,615 --> 00:18:39,035
that strike you as both victim
and perpetrator.

332
00:18:39,035 --> 00:18:40,661
You know, it's not until
I conducted it

333
00:18:40,661 --> 00:18:44,332
that I became convinced
we're all capable of murder.

334
00:18:44,332 --> 00:18:47,126
That is a fantastic handbag,
by the way.

335
00:18:47,126 --> 00:18:49,628
Thank you.
I'm glad you like it.

336
00:18:49,628 --> 00:18:51,297
Oh, I do. I do.

337
00:18:51,297 --> 00:18:53,174
(quietly): Sorry.
Your lunch with Mr. Kaplan.

338
00:18:53,174 --> 00:18:54,884
His driver is waiting.

339
00:18:54,884 --> 00:18:56,135
All right.

340
00:18:56,135 --> 00:18:57,303
I-I'm sorry,
I've forgotten your name.

341
00:18:57,303 --> 00:18:58,888
-Whitney. Whitney Reese.
-Whitney.

342
00:18:58,888 --> 00:19:00,097
Whitney, of course.

343
00:19:00,097 --> 00:19:01,599
I'm, I'm so sorry,

344
00:19:01,599 --> 00:19:03,142
and unfortunately
I've left things a bit late

345
00:19:03,142 --> 00:19:04,560
-and there's something
I can't get out of. -Oh.

346
00:19:04,560 --> 00:19:05,770
I understand.

347
00:19:05,770 --> 00:19:08,189
Can I text you?

348
00:19:27,500 --> 00:19:29,668
It's perfect, Aldo.

349
00:19:32,213 --> 00:19:34,673
Oh. I was hoping
we could celebrate.

350
00:19:34,673 --> 00:19:36,759
No. So was I.

351
00:19:36,759 --> 00:19:38,427
I've got a class at Juilliard.

352
00:19:38,427 --> 00:19:39,595
Oh, good.

353
00:19:39,595 --> 00:19:41,263
I promised Ben.

354
00:19:41,263 --> 00:19:44,725
I'm sure you'll have a few
elbowing for an Accordion slot.

355
00:19:45,643 --> 00:19:48,354
We should open up
the fellowship.

356
00:19:48,354 --> 00:19:50,689
-What, expand our numbers?
-No, our sex.

357
00:19:50,689 --> 00:19:53,984
I mean, it feels quaint
to keep things single-gender.

358
00:19:53,984 --> 00:19:55,403
We've made our point.

359
00:19:55,403 --> 00:19:57,196
And, honestly,
we've had no real trouble

360
00:19:57,196 --> 00:19:59,240
successfully placing
any of them.

361
00:19:59,240 --> 00:20:01,158
Except one.

362
00:20:01,158 --> 00:20:02,868
Oh, well.

363
00:20:02,868 --> 00:20:05,037
She had issues.

364
00:20:05,037 --> 00:20:06,705
So I've heard.

365
00:20:06,705 --> 00:20:08,707
The topic comes up
in every Citibank meeting

366
00:20:08,707 --> 00:20:11,210
with her father.

367
00:20:11,210 --> 00:20:12,711
I'm sorry about that.

368
00:20:12,711 --> 00:20:13,963
It's fine.

369
00:20:13,963 --> 00:20:16,257
It's nothing I can't handle.

370
00:20:17,133 --> 00:20:21,512
So, you want to torpedo
Accordion's founding principle?

371
00:20:21,512 --> 00:20:23,556
We'd likely lose donors.

372
00:20:23,556 --> 00:20:26,016
Yeah, I suppose that's true.

373
00:20:26,016 --> 00:20:28,144
M-Maybe it's something
we revisit

374
00:20:28,144 --> 00:20:30,104
-down the line.
-Sure.

375
00:20:30,104 --> 00:20:32,731
Now, Bryant Park's locked
for the 25th.

376
00:20:32,731 --> 00:20:34,775
Nan asked me
to help fill the place,

377
00:20:34,775 --> 00:20:36,652
so the Kaplan Fund
is gonna buy some radio

378
00:20:36,652 --> 00:20:38,737
and outdoor advertising.

379
00:20:38,737 --> 00:20:40,906
And claqueurs.

380
00:20:40,906 --> 00:20:42,283
It's too big, Eliot.

381
00:20:42,283 --> 00:20:43,868
She should have booked
the Strand.

382
00:20:43,868 --> 00:20:45,244
Relax.

383
00:20:45,244 --> 00:20:47,413
It'll be great.

384
00:20:47,413 --> 00:20:49,874
And it almost falls
on your birthday.

385
00:20:51,750 --> 00:20:54,253
I was, uh, I was sorry
you weren't able to make it

386
00:20:54,253 --> 00:20:56,255
to my Mahler Three in London.

387
00:20:57,256 --> 00:20:58,883
Me, too.

388
00:21:00,134 --> 00:21:02,678
Uh, Petra had a school thing.

389
00:21:02,678 --> 00:21:07,183
Uh, and I promised Sharon
I'd be there.

390
00:21:08,434 --> 00:21:10,394
Of course.

391
00:21:10,394 --> 00:21:13,731
I was just hoping
for your honest opinion.

392
00:21:13,731 --> 00:21:16,650
My player rating sheets
were off the charts.

393
00:21:16,650 --> 00:21:18,611
Those are confidential, Eliot.

394
00:21:18,611 --> 00:21:20,988
Well, the principal oboist
is a big fan.

395
00:21:22,156 --> 00:21:23,491
On the way back,

396
00:21:23,491 --> 00:21:25,326
I was listening to yours
with the Israeli Phil,

397
00:21:25,326 --> 00:21:27,369
and I was struck
by what you managed to pull

398
00:21:27,369 --> 00:21:29,747
from the strings
in the last movement.

399
00:21:29,747 --> 00:21:33,375
I mean, how did you
get them there?

400
00:21:33,375 --> 00:21:34,793
Was it the hall?

401
00:21:34,793 --> 00:21:36,462
Was it the players?

402
00:21:36,462 --> 00:21:39,423
(scoffs) The players weren't
very obliging.

403
00:21:39,423 --> 00:21:41,217
The principal violinist
came up to me

404
00:21:41,217 --> 00:21:42,468
after the first rehearsal

405
00:21:42,468 --> 00:21:44,595
-and asked if I was a Jew.
-What?

406
00:21:44,595 --> 00:21:47,556
It seemed to him unusual, if
not suspicious, that a non-Jew

407
00:21:47,556 --> 00:21:50,726
would be interested
in conducting Jewish music.

408
00:21:50,726 --> 00:21:53,729
-(Eliot chuckles)
-Felt like Max Bruch.

409
00:21:53,729 --> 00:21:57,066
Well, big Jew that I am,
the Kaplan Fund has, uh,

410
00:21:57,066 --> 00:21:59,068
committed a sizable
amount to them

411
00:21:59,068 --> 00:22:00,903
-for a klezmer commission.
-Mm-hmm.

412
00:22:00,903 --> 00:22:02,947
Uh, maybe they'll invite me
to guest conduct.

413
00:22:02,947 --> 00:22:04,865
Oh, well, they'd be lucky
to have you.

414
00:22:04,865 --> 00:22:06,742
Oh, please.

415
00:22:06,742 --> 00:22:08,827
I know my place.

416
00:22:08,827 --> 00:22:11,372
Money can't always
buy you everything.

417
00:22:12,331 --> 00:22:14,625
You don't really believe that.

418
00:22:14,625 --> 00:22:16,835
I'll have you know
I tried to bribe Francesca

419
00:22:16,835 --> 00:22:18,504
to let me look at your notation.

420
00:22:18,504 --> 00:22:20,005
She sent me packing.

421
00:22:20,005 --> 00:22:21,423
Good girl.

422
00:22:22,424 --> 00:22:24,176
That gentleman sitting
over there with the gnome

423
00:22:24,176 --> 00:22:26,595
is urgently focused
on our table.

424
00:22:26,595 --> 00:22:29,932
At first, I thought
he was looking at me,

425
00:22:29,932 --> 00:22:32,101
but I think he's got
his eye on you.

426
00:22:32,101 --> 00:22:34,103
Please try and ignore him.

427
00:22:34,103 --> 00:22:36,272
I can excuse myself
and go wash my hands

428
00:22:36,272 --> 00:22:37,940
if you'd like to be alone.

429
00:22:37,940 --> 00:22:40,943
And I would never forgive you.

430
00:22:40,943 --> 00:22:43,195
The last thing I need
is to be buttonholed in here

431
00:22:43,195 --> 00:22:45,281
by someone exactly like me.

432
00:22:46,699 --> 00:22:48,659
Uh, what time are you
leaving tomorrow?

433
00:22:49,493 --> 00:22:51,996
Francesca's looking
into flights.

434
00:22:51,996 --> 00:22:53,372
Well, call her off.

435
00:22:53,372 --> 00:22:55,165
Leave when you like.

436
00:22:55,165 --> 00:22:57,042
You don't have to do that.

437
00:22:57,042 --> 00:23:00,838
My motives are not entirely
altruistic.

438
00:23:00,838 --> 00:23:03,382
Just one peek. One peek
at your performing score.

439
00:23:03,382 --> 00:23:06,010
(Tár chuckles)

440
00:23:06,010 --> 00:23:07,553
Fine.

441
00:23:07,553 --> 00:23:10,598
-Would 5:15 be okay?
-Sure.

442
00:23:10,598 --> 00:23:13,642
Okay, I mean, I do... I have
to get turned around fast.

443
00:23:13,642 --> 00:23:16,061
We're filling a vacant position.

444
00:23:16,061 --> 00:23:18,105
Oh, please tell me
it's Sebastian.

445
00:23:18,105 --> 00:23:19,481
Now, be fair, Eliot.

446
00:23:19,481 --> 00:23:21,900
Sebastian has decent technique.

447
00:23:21,900 --> 00:23:23,402
He has baton.

448
00:23:23,402 --> 00:23:24,987
A month ago,
I dropped into Bunkamura

449
00:23:24,987 --> 00:23:28,240
to watch the Turing machine
trot out Chopin One.

450
00:23:28,240 --> 00:23:31,785
Ol' Sebastian really
is Mr. Tempo Rubato.

451
00:23:31,785 --> 00:23:33,412
Robot-o is more like it.

452
00:23:33,412 --> 00:23:34,747
Why do you keep him on?

453
00:23:34,747 --> 00:23:37,207
Oh, he's Andris's man,
you know that.

454
00:23:37,207 --> 00:23:38,834
Exactly. You inherited
that decision.

455
00:23:38,834 --> 00:23:40,794
Seven years is a long time
to pretend you respect it.

456
00:23:40,794 --> 00:23:43,255
They have different
labor contracts over there.

457
00:23:45,382 --> 00:23:48,552
He's a... he's a strange guy.

458
00:23:48,552 --> 00:23:49,928
Who? Andris?

459
00:23:49,928 --> 00:23:51,889
No, Sebastian.

460
00:23:51,889 --> 00:23:54,475
He has, uh, fetishes.

461
00:23:54,475 --> 00:23:56,393
Fetishes? Like what?

462
00:23:56,393 --> 00:24:00,105
Nostalgia for prewar Kalmus
miniature scores,

463
00:24:00,105 --> 00:24:02,024
dead-stock pencils he's seen

464
00:24:02,024 --> 00:24:04,109
von Karajan hold in photographs.

465
00:24:04,109 --> 00:24:06,111
You know, that sort of thing.

466
00:24:06,111 --> 00:24:08,489
(scoffs)
That's just sad.

467
00:24:12,660 --> 00:24:15,287
Yeah, but you're not wrong.

468
00:24:15,287 --> 00:24:18,332
I am gonna have to rotate him
at some point.

469
00:24:20,584 --> 00:24:22,878
For who?

470
00:24:27,049 --> 00:24:28,842
What Love Teaches Me.

471
00:24:28,842 --> 00:24:31,053
That string notation.

472
00:24:32,388 --> 00:24:34,640
Mahler gives it to you himself.

473
00:24:35,599 --> 00:24:37,101
Languid, peaceful, deeply felt.

474
00:24:37,101 --> 00:24:37,976
-Come on.
-Trust me.

475
00:24:38,435 --> 00:24:40,062
You do not want to go to school

476
00:24:40,062 --> 00:24:42,564
on someone else's
red and blue pencil.

477
00:24:42,564 --> 00:24:44,149
Least of all, mine.

478
00:24:44,149 --> 00:24:45,567
Oh, but I do.

479
00:24:45,567 --> 00:24:47,069
(sighs) All right.
Will you quit pestering me?

480
00:24:47,069 --> 00:24:49,196
Yes.

481
00:24:49,196 --> 00:24:51,323
Free bowing.

482
00:24:52,658 --> 00:24:55,202
It's not pretty
for an audience to look at,

483
00:24:55,202 --> 00:24:56,829
but if you can manage
to keep your players

484
00:24:56,829 --> 00:24:58,580
out of the weeds...

485
00:24:59,456 --> 00:25:01,625
... the sound's ferocious.

486
00:25:03,252 --> 00:25:05,254
Oh.

487
00:25:08,507 --> 00:25:11,510
There's no glory
for a robot, Eliot.

488
00:25:15,139 --> 00:25:17,307
Do your own thing.

489
00:25:19,351 --> 00:25:21,520
Hmm.

490
00:25:25,232 --> 00:25:27,109
(piano plays deep chord)

491
00:25:27,109 --> 00:25:29,528
(playing "Ró"
by Anna Thorvaldsdóttir)

492
00:25:32,906 --> 00:25:35,159
-(hollow thump)
-(soft knock)

493
00:25:37,244 --> 00:25:39,538
-(soft knock)
-(hollow thump)

494
00:25:39,538 --> 00:25:42,124
-All right, um...
-(playing stops)

495
00:25:42,124 --> 00:25:44,835
Let's... stop here.

496
00:25:44,835 --> 00:25:46,628
-Thank you, Max. Very good.
-Thanks.

497
00:25:46,628 --> 00:25:51,467
Um, just for my own
edification...

498
00:25:51,467 --> 00:25:53,802
why did you come to Juilliard?

499
00:25:53,802 --> 00:25:55,929
(Max clicks tongue)

500
00:25:56,972 --> 00:25:59,391
Uh, it's the best music
conservatory in the country?

501
00:25:59,391 --> 00:26:02,394
People from Curtis, Eastman,
and others may beg to differ.

502
00:26:02,394 --> 00:26:04,938
I mean,
Juilliard's a brand, right?

503
00:26:04,938 --> 00:26:07,733
So, did you come to study
with a brand?

504
00:26:07,733 --> 00:26:10,027
-No. -No, right.
So there's a teacher

505
00:26:10,027 --> 00:26:12,446
or graduate somewhere
down the line who, you know,

506
00:26:12,446 --> 00:26:14,072
conjured something
in your imagination.

507
00:26:14,072 --> 00:26:16,408
-Someone you aspire
to be yourself. -Mm-hmm.

508
00:26:16,408 --> 00:26:18,118
So, who was that?

509
00:26:18,118 --> 00:26:19,661
Sarah Chang.

510
00:26:19,661 --> 00:26:21,580
Hmm. So you're a violinist?

511
00:26:21,580 --> 00:26:23,248
-Yeah.
-All right, okay.

512
00:26:23,248 --> 00:26:24,917
Well, I can see why

513
00:26:24,917 --> 00:26:27,586
you would choose to conduct
a piece like this.

514
00:26:27,586 --> 00:26:30,088
Must be a familiar pleasure
in presiding over

515
00:26:30,088 --> 00:26:32,883
a bed of strings that behave
as if they're tuning.

516
00:26:32,883 --> 00:26:34,843
-(scattered laughter)
-Now...

517
00:26:34,843 --> 00:26:39,348
this piece is very au courant.

518
00:26:39,348 --> 00:26:41,975
I mean, here,
the composer tells us

519
00:26:41,975 --> 00:26:44,144
to begin with "back-and-forth
tremolo strokes

520
00:26:44,144 --> 00:26:48,190
with wire brush and slowly
sliding crotales over skin."

521
00:26:48,190 --> 00:26:50,818
Sounds like René Redzepi's
recipe for reindeer.

522
00:26:50,818 --> 00:26:52,528
(sighs heavily)

523
00:26:52,528 --> 00:26:55,155
It's exciting to play
new music, isn't it?

524
00:26:55,155 --> 00:26:56,615
-Yeah.
-Yeah.

525
00:26:56,615 --> 00:26:59,827
Great. All right, please,
join the other fellows.

526
00:27:01,286 --> 00:27:04,790
Now, I know you're all
conducting students

527
00:27:04,790 --> 00:27:07,584
of, uh, Mr. Wolfe's,
but how many of you

528
00:27:07,584 --> 00:27:10,838
are also studying composition?

529
00:27:10,838 --> 00:27:12,339
Right, what's your name?

530
00:27:12,339 --> 00:27:13,799
Olive Kerr.

531
00:27:13,799 --> 00:27:16,385
All right, Olive. Uh...

532
00:27:16,385 --> 00:27:18,887
What do you make of what
we've just been listening to?

533
00:27:18,887 --> 00:27:20,806
It's pretty awesome.

534
00:27:20,806 --> 00:27:23,934
I mean, there's incredible
atonal tension.

535
00:27:23,934 --> 00:27:26,228
I agree about the tension part.

536
00:27:26,228 --> 00:27:30,148
Now, you can intellectually
contemplate, or masturbate,

537
00:27:30,148 --> 00:27:33,986
about the felicity
of the so-called "atonal,"

538
00:27:33,986 --> 00:27:39,825
but the important question here
is: What are you conducting?

539
00:27:39,825 --> 00:27:41,159
What is the effect?

540
00:27:41,159 --> 00:27:44,121
What is it actually doing to me?

541
00:27:44,121 --> 00:27:48,041
Good music can be
as ornate as a cathedral

542
00:27:48,041 --> 00:27:50,168
or bare as a potting shed

543
00:27:50,168 --> 00:27:53,714
so long as it allows you to
answer both those questions.

544
00:27:53,714 --> 00:27:55,924
-(claps hands)
-Max.

545
00:27:55,924 --> 00:27:58,260
Come on, what do you think?

546
00:28:01,096 --> 00:28:06,018
When... Anna Thorvaldsdóttir
gave her master class,

547
00:28:06,018 --> 00:28:10,063
she said she was often
influenced by the form

548
00:28:10,063 --> 00:28:15,569
and structure of landscapes
and nature she grew up within.

549
00:28:15,569 --> 00:28:18,030
But I'm not sure
she was interested per se

550
00:28:18,030 --> 00:28:21,283
in, uh, describing
those actual sounds.

551
00:28:21,283 --> 00:28:23,869
Very Punkt Kontra Punkt.

552
00:28:25,037 --> 00:28:26,580
Yes.

553
00:28:26,580 --> 00:28:31,501
The intent of her composition
is vague, to say the least.

554
00:28:31,501 --> 00:28:36,423
So, if her intent is vague,
how do you, as a conductor,

555
00:28:36,423 --> 00:28:39,968
have a point of view
about anything?

556
00:28:39,968 --> 00:28:41,553
Now, to be fair, I mean,

557
00:28:41,553 --> 00:28:43,972
there are times when you will
simply have no choice.

558
00:28:43,972 --> 00:28:46,600
And you will be made to stand
in front of an orchestra

559
00:28:46,600 --> 00:28:49,853
and pretend that there are
these invisible structures.

560
00:28:49,853 --> 00:28:52,898
But my prayer for you

561
00:28:52,898 --> 00:28:55,150
is that you will be spared
the embarrassment

562
00:28:55,150 --> 00:28:57,569
of standing on the podium
with a 4'33",

563
00:28:57,569 --> 00:29:00,238
trying to sell a car
without an engine.

564
00:29:00,238 --> 00:29:02,407
Because now, my friends,

565
00:29:02,407 --> 00:29:05,619
now is the time to conduct music

566
00:29:05,619 --> 00:29:09,081
that actually requires
something of you.

567
00:29:09,081 --> 00:29:10,791
You know,
music that everybody knows

568
00:29:10,791 --> 00:29:15,462
but will hear differently
when you interpret it for them.

569
00:29:15,462 --> 00:29:19,091
For instance, Max,
why not a Kyrie?

570
00:29:19,091 --> 00:29:24,304
You know, like, uh, something
like Bach's Mass in B minor.

571
00:29:24,304 --> 00:29:25,931
(chuckles nervously)

572
00:29:25,931 --> 00:29:27,849
I'm not really into Bach.

573
00:29:27,849 --> 00:29:30,686
-You're not into Bach?
-Mm-hmm.

574
00:29:30,686 --> 00:29:32,562
Oh, Max.

575
00:29:33,438 --> 00:29:35,607
Have you read
the Schweitzer book?

576
00:29:35,607 --> 00:29:37,275
No.

577
00:29:37,275 --> 00:29:38,777
Well, you should.

578
00:29:38,777 --> 00:29:41,279
It's an important text.

579
00:29:41,279 --> 00:29:43,699
Now, Antonia Brico thought so.

580
00:29:43,699 --> 00:29:46,618
So much so that she shipped
herself to Equatorial Africa

581
00:29:46,618 --> 00:29:49,454
and canoed up the Congo River
to track Schweitzer down

582
00:29:49,454 --> 00:29:52,624
and ask him to teach her
what he knew about Bach.

583
00:29:52,624 --> 00:29:54,459
I mean, somewhere,
I've got a picture of her

584
00:29:54,459 --> 00:29:56,795
in a, in a pith helmet.

585
00:29:56,795 --> 00:29:58,296
I mean, have you...

586
00:29:58,296 --> 00:30:02,259
have you ever played
or-or conducted Bach?

587
00:30:02,259 --> 00:30:07,889
Honestly, as a BIPOC,
pangender person,

588
00:30:07,889 --> 00:30:09,766
I would say Bach's
misogynistic life

589
00:30:09,766 --> 00:30:12,811
makes it kind of impossible
for me

590
00:30:12,811 --> 00:30:15,272
to take his music seriously.

591
00:30:16,690 --> 00:30:18,483
Come on.

592
00:30:18,483 --> 00:30:21,570
What do... what do...
what do you mean by that?

593
00:30:21,570 --> 00:30:25,574
Well, didn't he sire,
like, 20 kids?

594
00:30:25,574 --> 00:30:27,701
Yes, that's documented.

595
00:30:27,701 --> 00:30:31,455
Along with a considerable
amount of music.

596
00:30:31,455 --> 00:30:33,874
But I'm sorry,
I'm... I'm unclear

597
00:30:33,874 --> 00:30:36,543
as to what his prodigious
skills in the marital bed

598
00:30:36,543 --> 00:30:39,838
have to do with B minor.

599
00:30:39,838 --> 00:30:41,173
Sure.

600
00:30:41,173 --> 00:30:43,925
All right, whatever.
That's-that's your choice.

601
00:30:43,925 --> 00:30:46,845
I mean, after all, "a soul
selects her own society."

602
00:30:46,845 --> 00:30:49,681
But remember, the flip side
of that selection

603
00:30:49,681 --> 00:30:52,601
closes the valves
of one's attention.

604
00:30:52,601 --> 00:30:57,022
Now, of course,
siloing what is acceptable

605
00:30:57,022 --> 00:31:00,275
or not acceptable
is a basic construct of many,

606
00:31:00,275 --> 00:31:02,903
if not most,
symphony orchestras today,

607
00:31:02,903 --> 00:31:04,863
who see it
as their imperial right

608
00:31:04,863 --> 00:31:06,573
to curate for the cretins.

609
00:31:06,573 --> 00:31:08,492
So, slippery as it is,

610
00:31:08,492 --> 00:31:12,245
there is some merit
in examining Max's allergy.

611
00:31:12,245 --> 00:31:15,624
Can classical music
written by a bunch of straight,

612
00:31:15,624 --> 00:31:18,877
Austro-German, churchgoing
white guys exalt us,

613
00:31:18,877 --> 00:31:21,379
individually
as-as well as collectively,

614
00:31:21,379 --> 00:31:25,300
and who, may I ask,
gets to decide that?

615
00:31:26,301 --> 00:31:28,804
(sighs)
You know, what about Beethoven?

616
00:31:28,804 --> 00:31:30,639
You into him?

617
00:31:30,639 --> 00:31:33,475
Because for me,
as a U-Haul lesbian,

618
00:31:33,475 --> 00:31:36,770
I'm... I'm not too sure
about old Ludwig.

619
00:31:37,687 --> 00:31:41,233
But then, I face him.

620
00:31:41,233 --> 00:31:43,485
And I find myself nose-to-nose

621
00:31:43,485 --> 00:31:48,031
with his magnitude
and inevitability.

622
00:31:50,325 --> 00:31:53,411
Come on, Max. Indulge me.

623
00:31:53,411 --> 00:31:56,832
Let's allow Bach a similar gaze.

624
00:31:56,832 --> 00:31:58,250
(inhales deeply)

625
00:31:58,250 --> 00:32:01,419
(playing Bach's Präludium
und Fuge C-Dur. BWV 846)

626
00:32:01,419 --> 00:32:02,921
Sit.

627
00:32:05,674 --> 00:32:08,677
Now, this is all
filigree, right?

628
00:32:08,677 --> 00:32:13,515
I mean, it could be
a first-year piano student.

629
00:32:13,515 --> 00:32:18,061
♪ Or Schroeder playing
for Lucy. ♪

630
00:32:20,021 --> 00:32:22,524
Or Glenn Gould, for that matter.

631
00:32:27,112 --> 00:32:29,698
Now, it's not until
it changes...

632
00:32:30,782 --> 00:32:32,325
... when you get inside it,

633
00:32:32,325 --> 00:32:33,869
that you hear what it really is.

634
00:32:33,869 --> 00:32:35,662
It's a question.

635
00:32:38,039 --> 00:32:40,041
And an answer.

636
00:32:41,626 --> 00:32:44,337
Which begs another question.

637
00:32:46,464 --> 00:32:48,717
There's a humility in Bach.

638
00:32:48,717 --> 00:32:52,679
He's not pretending
he's certain about anything.

639
00:32:52,679 --> 00:32:55,724
'Cause he knows
that it's always the question

640
00:32:55,724 --> 00:32:58,768
that involves the listener.

641
00:32:58,768 --> 00:33:01,897
It's never the answer, right?

642
00:33:01,897 --> 00:33:05,525
Now, the big question
for you is:

643
00:33:05,525 --> 00:33:07,986
(growling):
What do you think, Max?

644
00:33:11,948 --> 00:33:13,867
(exhales)

645
00:33:13,867 --> 00:33:15,994
You play really well.

646
00:33:15,994 --> 00:33:22,209
But nowadays, white, male, cis
composers, just not my thing.

647
00:33:22,209 --> 00:33:26,546
Don't be so eager
to be offended.

648
00:33:26,546 --> 00:33:28,673
The narcissism
of small differences

649
00:33:28,673 --> 00:33:31,426
leads to the most boring
conformity.

650
00:33:31,426 --> 00:33:33,511
I guess Edgard Varèse is okay.

651
00:33:33,511 --> 00:33:35,388
I mean, I like "Arcana," anyway.

652
00:33:35,388 --> 00:33:38,516
Oh, well, then you must be
aware that Varèse

653
00:33:38,516 --> 00:33:40,810
once famously stated that jazz

654
00:33:40,810 --> 00:33:45,106
was "a Negro product
exploited by the Jews."

655
00:33:45,106 --> 00:33:47,776
Didn't stop Jerry Goldsmith
from ripping him off

656
00:33:47,776 --> 00:33:50,070
for his
Planet of the Apes score.

657
00:33:50,070 --> 00:33:52,614
It's kind of a perfect insult,
don't you think?

658
00:33:52,614 --> 00:33:56,368
But you see, the problem
with enrolling yourself

659
00:33:56,368 --> 00:33:58,912
as an ultrasonic epistemic
dissident

660
00:33:58,912 --> 00:34:02,582
is that if Bach's talent
can be reduced to his gender,

661
00:34:02,582 --> 00:34:05,752
birth country, religion,
sexuality, and so on,

662
00:34:05,752 --> 00:34:08,380
then so can yours.

663
00:34:08,380 --> 00:34:11,800
Now, someday, Max,
when you go out into the world

664
00:34:11,800 --> 00:34:15,470
and you guest conduct
for a major or minor orchestra,

665
00:34:15,470 --> 00:34:18,598
you may notice that the players
have more than light bulbs

666
00:34:18,598 --> 00:34:21,142
and music on their stands.

667
00:34:21,142 --> 00:34:24,396
They will also have been
handed rating sheets,

668
00:34:24,396 --> 00:34:27,440
the purpose of which
is to rate you.

669
00:34:27,440 --> 00:34:29,776
Now, what kind of criteria

670
00:34:29,776 --> 00:34:32,445
would you hope that they would
use to do this?

671
00:34:32,445 --> 00:34:35,824
Your score reading and stick
technique, or something else?

672
00:34:38,660 --> 00:34:42,247
All right, everyone,
using Max's criteria,

673
00:34:42,247 --> 00:34:44,958
let's consider Max's thing.

674
00:34:44,958 --> 00:34:47,711
In this case,
Anna Thorvaldsdóttir.

675
00:34:47,711 --> 00:34:51,506
Now, can we agree on two pieces
of observation?

676
00:34:51,506 --> 00:34:54,009
One, that Anna was born
in Iceland.

677
00:34:54,009 --> 00:34:56,386
And two, that she is,
in a, I don't know,

678
00:34:56,386 --> 00:34:59,014
Waldorf teacher kinda way,
a superhot young woman.

679
00:34:59,014 --> 00:35:00,974
Show of hands.

680
00:35:00,974 --> 00:35:03,184
All right,
now let's turn our gaze

681
00:35:03,184 --> 00:35:05,270
back to the piano bench up there

682
00:35:05,270 --> 00:35:08,523
and see if we can square
how any of those things

683
00:35:08,523 --> 00:35:12,861
possibly relate to the person
we see seated before us.

684
00:35:12,861 --> 00:35:14,904
(lid slams shut)

685
00:35:17,657 --> 00:35:19,492
Oh, where are you going?

686
00:35:23,121 --> 00:35:24,664
You're a fucking bitch.

687
00:35:24,664 --> 00:35:26,082
(Tár grunts)

688
00:35:26,082 --> 00:35:28,168
And you are a robot.

689
00:35:28,168 --> 00:35:30,795
I mean, unfortunately,
the architect of your soul

690
00:35:30,795 --> 00:35:33,381
appears to be social media.

691
00:35:33,381 --> 00:35:36,718
You want to dance the mask,
you must service the composer.

692
00:35:36,718 --> 00:35:38,136
You gotta sublimate yourself,

693
00:35:38,136 --> 00:35:41,139
your ego, and, yes,
your identity.

694
00:35:41,139 --> 00:35:43,767
You must, in fact, stand
in front of the public and God

695
00:35:43,767 --> 00:35:46,519
and obliterate yourself.

696
00:35:48,646 --> 00:35:50,440
(sighs):
All right.

697
00:35:50,440 --> 00:35:52,108
ALEC BALDWIN (over computer):
During the lockdown,

698
00:35:52,108 --> 00:35:54,527
you did something
I thought remarkable.

699
00:35:54,527 --> 00:35:56,154
You made music for free.

700
00:35:56,154 --> 00:35:58,907
Anyone at all could stream
Berlin performances

701
00:35:58,907 --> 00:36:01,326
without ever paying a dime.

702
00:36:01,326 --> 00:36:03,453
TÁR:
Well, that-that was a...

703
00:36:03,453 --> 00:36:06,664
it's a democratically made
decision by the players.

704
00:36:06,664 --> 00:36:10,919
And though I-I wish I could
claim the idea was mine,

705
00:36:10,919 --> 00:36:14,506
it really did spring from
the heart of Sharon Goodnow.

706
00:36:14,506 --> 00:36:15,924
BALDWIN:
Sharon is your partner.

707
00:36:15,924 --> 00:36:17,258
You have a child together,

708
00:36:17,258 --> 00:36:19,928
and she's also the
concertmaster for Berlin.

709
00:36:19,928 --> 00:36:21,930
-Does that ever...
-Yes, that's right.

710
00:36:21,930 --> 00:36:23,598
... complicate things for you?

711
00:36:23,598 --> 00:36:25,767
Your work getting into your
home or the other way ar...?

712
00:36:25,767 --> 00:36:27,977
(indistinct chatter)

713
00:36:39,572 --> 00:36:41,032
FRANCESCA:
Jake said he was certain

714
00:36:41,032 --> 00:36:42,867
you'd be happy with the drape
of the seat.

715
00:36:42,867 --> 00:36:44,369
I will be... (sighs)

716
00:36:44,369 --> 00:36:46,871
... if I can keep the fat off
until next month.

717
00:36:46,871 --> 00:36:49,666
(laughs):
You never gain weight.

718
00:36:50,500 --> 00:36:52,335
(laughs softly)

719
00:36:53,128 --> 00:36:55,296
Your... your mother texted me.

720
00:36:55,296 --> 00:36:57,715
She knows you're busy
but is hoping to drop by.

721
00:36:57,715 --> 00:36:59,134
(clears throat nervously)

722
00:36:59,134 --> 00:37:00,844
Next trip.

723
00:37:00,844 --> 00:37:03,179
What are you thinking
for dinner?

724
00:37:03,179 --> 00:37:04,722
Uh, no.

725
00:37:04,722 --> 00:37:07,642
No, I'm-I'm gonna stay in
and put this piano to good use.

726
00:37:07,642 --> 00:37:11,354
I'm suspicious of the E natural
in the cello line.

727
00:37:11,354 --> 00:37:14,649
Doesn't it sound like
warmed-over Charles Ives to you?

728
00:37:14,649 --> 00:37:16,526
Not-not at all.

729
00:37:16,526 --> 00:37:18,695
But don't worry,
I'll call Houston.

730
00:37:18,695 --> 00:37:20,113
They'll be flexible.

731
00:37:20,113 --> 00:37:22,740
(sighs) You must have
some New Haven friends

732
00:37:22,740 --> 00:37:24,909
you want to see tonight?

733
00:37:24,909 --> 00:37:27,078
(chuckles):
No. Not really.

734
00:37:27,078 --> 00:37:28,830
(Tár sighs, sniffs)

735
00:37:28,830 --> 00:37:31,958
Should I stop by later
for notes?

736
00:37:31,958 --> 00:37:34,085
No, that won't be necessary.

737
00:37:34,085 --> 00:37:36,880
-(playing dramatic melody)
-(quietly): Okay.

738
00:37:39,257 --> 00:37:44,679
Oh, I, I-I almost forgot, but...

739
00:37:44,679 --> 00:37:47,599
this was left for you
at the front desk.

740
00:37:47,599 --> 00:37:48,766
By who?

741
00:37:48,766 --> 00:37:50,768
They didn't say.

742
00:37:50,768 --> 00:37:52,604
Wh-What, no card?

743
00:37:52,604 --> 00:37:53,813
No.

744
00:37:53,813 --> 00:37:55,857
Okay, just, just leave it
over there.

745
00:37:55,857 --> 00:37:57,108
Thanks.

746
00:37:57,108 --> 00:37:59,277
♪ ♪

747
00:38:07,911 --> 00:38:09,245
Good night.

748
00:38:09,245 --> 00:38:10,788
Night.

749
00:38:16,044 --> 00:38:18,838
♪ ♪

750
00:38:18,838 --> 00:38:20,340
JESSICA HANSEN (over radio):
You're listening to

751
00:38:20,340 --> 00:38:22,717
All Things Considered
from NPR News.

752
00:38:22,717 --> 00:38:24,344
All Things Considered
is brought to you

753
00:38:24,344 --> 00:38:26,012
by the Corporation
for Public Broadcasting...

754
00:38:26,012 --> 00:38:27,597
TÁR (mimics):
Public Broadcasting.

755
00:38:27,597 --> 00:38:29,224
HANSEN:
... and I Eat Ears,

756
00:38:29,224 --> 00:38:32,268
-feeding the discerning
listener since 2008. -2008.

757
00:38:32,268 --> 00:38:33,770
-I Eat Ears,
-I Eat Ears,

758
00:38:33,770 --> 00:38:36,064
-and you should, too.
-and you should, too.

759
00:38:36,898 --> 00:38:40,235
HANSEN:
And now, more from NPR.

760
00:38:40,235 --> 00:38:41,694
Over the next few weeks,

761
00:38:41,694 --> 00:38:43,863
we'll be hearing poems
from four finalists

762
00:38:43,863 --> 00:38:47,492
for the National
Youth Poet Laureate Award.

763
00:38:55,250 --> 00:38:57,710
TÁR:
When were you informed of this?

764
00:38:57,710 --> 00:39:00,380
FRANCESCA:
Just this morning.

765
00:39:00,380 --> 00:39:02,674
Mr. Kaplan was very apologetic.

766
00:39:02,674 --> 00:39:04,092
I was able to get us on

767
00:39:04,092 --> 00:39:05,760
the 7:00 a.m. you like,
through Munich.

768
00:39:05,760 --> 00:39:06,970
The connection's short,

769
00:39:06,970 --> 00:39:08,930
but special services
are standing by.

770
00:39:08,930 --> 00:39:10,848
Where are things with DG?

771
00:39:10,848 --> 00:39:13,434
Please tell me they've finally
woken up to see the wisdom

772
00:39:13,434 --> 00:39:15,937
of honest-to-God LPs
for this release?

773
00:39:15,937 --> 00:39:18,022
-(Tár sighs)
-No movement there yet.

774
00:39:18,022 --> 00:39:19,774
Have you looked at the email
I drafted for you?

775
00:39:19,774 --> 00:39:21,234
-Sent it last night.
-Mm-hmm.

776
00:39:21,234 --> 00:39:24,028
-Well, just forward me
their response. -Mm-hmm.

777
00:39:25,029 --> 00:39:28,074
What's your take
on The New Yorker talk?

778
00:39:29,367 --> 00:39:30,827
It went well, I thought.

779
00:39:30,827 --> 00:39:32,495
Oh. You're hedging.

780
00:39:32,495 --> 00:39:33,788
(Francesca chuckles softly)

781
00:39:33,788 --> 00:39:35,206
I was garrulous.

782
00:39:35,206 --> 00:39:36,541
-No.
-(chuckles)

783
00:39:36,541 --> 00:39:38,710
No, not at all.
You, you were fabulous.

784
00:39:38,710 --> 00:39:41,129
(laughs):
Francesca.

785
00:39:41,129 --> 00:39:43,715
If you have any real interest
in conducting,

786
00:39:43,715 --> 00:39:45,633
you need to be able
to speak your mind.

787
00:39:45,633 --> 00:39:47,635
Okay. Perhaps you...

788
00:39:47,635 --> 00:39:50,096
You could've made less
of the relationship with...

789
00:39:50,096 --> 00:39:51,639
-Lenny?
-No.

790
00:39:51,639 --> 00:39:54,100
I-I was thinking
about Mahler and Alma's.

791
00:39:54,100 --> 00:39:55,977
-Oh. Huh. -You implied
that she betrayed him.

792
00:39:55,977 --> 00:39:59,188
I'm not, I'm not sure
I agree with that.

793
00:39:59,188 --> 00:40:00,690
Oh, really?

794
00:40:00,690 --> 00:40:02,233
Alma was a composer, too,

795
00:40:02,233 --> 00:40:04,485
but he insisted
she stop writing music.

796
00:40:04,485 --> 00:40:06,279
He said there was
only room for...

797
00:40:06,279 --> 00:40:08,489
-One asshole in the house?
-One asshole in the house. Yes.

798
00:40:08,489 --> 00:40:10,241
And she agreed to those rules.

799
00:40:10,241 --> 00:40:12,660
No one made that decision
for her.

800
00:40:12,660 --> 00:40:15,580
#RulesOfTheGame.

801
00:40:15,955 --> 00:40:18,541
If a woman has the right to
mount the scaffold,

802
00:40:18,541 --> 00:40:19,042
she must equally have the right
to mount the podium.

803
00:40:19,042 --> 00:40:21,419
(blows raspberry) Okay.

804
00:40:26,841 --> 00:40:28,551
(Francesca sighs)

805
00:40:28,551 --> 00:40:29,969
How was your evening?

806
00:40:29,969 --> 00:40:32,472
Yeah, was uneventful.

807
00:40:32,472 --> 00:40:34,932
Are there any
of Sharon's pills left?

808
00:40:34,932 --> 00:40:37,977
No, but Dr. Korovin
called these in.

809
00:40:37,977 --> 00:40:40,438
Ah, thanks.

810
00:40:43,149 --> 00:40:45,109
(exhales heavily)

811
00:40:47,904 --> 00:40:50,907
I received another weird email
from Krista.

812
00:40:50,907 --> 00:40:54,535
-Mm-hmm.
-How should I reply?

813
00:40:54,535 --> 00:40:56,204
Don't.

814
00:40:57,664 --> 00:41:01,125
Well, this one felt
especially desperate.

815
00:41:01,125 --> 00:41:03,044
(speaking German)

816
00:41:03,336 --> 00:41:05,546
Hope dies last.

817
00:41:09,634 --> 00:41:11,886
(plane engine humming quietly)

818
00:41:16,099 --> 00:41:17,934
(sighs)

819
00:41:30,405 --> 00:41:32,323
(inhales deeply)

820
00:41:33,157 --> 00:41:35,159
(sighs heavily)

821
00:41:35,159 --> 00:41:37,161
(paper rustling)

822
00:41:37,161 --> 00:41:39,330
(sighs)

823
00:42:12,071 --> 00:42:14,323
(pencil scratching on paper)

824
00:42:15,700 --> 00:42:17,910
(muffled mumbling)

825
00:42:31,174 --> 00:42:33,426
(suitcase clattering)

826
00:42:44,979 --> 00:42:47,106
(keys jingle)

827
00:42:56,783 --> 00:42:58,993
(sighs)

828
00:43:01,579 --> 00:43:04,081
TÁR: Do you have some kind
of profit-sharing deal

829
00:43:04,081 --> 00:43:06,709
with the utility company
that I am unaware of?

830
00:43:06,709 --> 00:43:08,586
(Sharon gasping)

831
00:43:08,586 --> 00:43:11,088
The flutter's back.

832
00:43:11,088 --> 00:43:14,425
It's... It's racing.

833
00:43:14,425 --> 00:43:16,886
I can't find my Metoprolol
anywhere.

834
00:43:16,886 --> 00:43:19,305
(breath trembling)

835
00:43:21,098 --> 00:43:22,767
(whispers):
Oh, fuck.

836
00:43:24,018 --> 00:43:26,687
(opens pill bottle)

837
00:43:26,687 --> 00:43:28,523
(pills rattling)

838
00:43:28,523 --> 00:43:30,149
(Sharon breathing shakily)

839
00:43:30,149 --> 00:43:31,526
(opens lid)

840
00:43:31,526 --> 00:43:33,236
(runs water, stops)

841
00:43:33,236 --> 00:43:34,612
(closes lid)

842
00:43:34,612 --> 00:43:38,491
Uh, I found this
lying loose in the drawer.

843
00:43:40,827 --> 00:43:43,162
Is this the right one?

844
00:43:44,622 --> 00:43:46,165
Yeah.

845
00:43:51,045 --> 00:43:53,047
Thank you.

846
00:43:56,050 --> 00:43:58,261
Is that a new bag?

847
00:43:58,261 --> 00:44:00,721
Oh, it's just a gift from Eliot.

848
00:44:00,721 --> 00:44:02,056
(chuckles):
You want it?

849
00:44:02,056 --> 00:44:03,558
No.

850
00:44:04,767 --> 00:44:06,269
Suits you.

851
00:44:06,269 --> 00:44:08,104
(sets glass on table)

852
00:44:08,104 --> 00:44:13,734
Let's slow this down
to 60 beats a minute.

853
00:44:14,610 --> 00:44:16,320
(switch clicks)

854
00:44:16,320 --> 00:44:19,532
("Li'l Darlin'" by Count Basie
& His Orchestra playing)

855
00:44:22,159 --> 00:44:24,287
(Sharon sniffs)

856
00:44:26,330 --> 00:44:28,833
(Sharon breaths deeply, sighs)

857
00:44:28,833 --> 00:44:31,002
♪ ♪

858
00:44:37,842 --> 00:44:39,719
Actually, it's 64 beats.

859
00:44:39,719 --> 00:44:41,762
(Tár chuckles softly)

860
00:44:44,140 --> 00:44:47,351
Tried calling you
on your mobile last night.

861
00:44:47,351 --> 00:44:49,103
TÁR:
Hmm.

862
00:44:49,103 --> 00:44:52,064
And again at the hotel.

863
00:44:52,064 --> 00:44:54,483
Must've been asleep.

864
00:44:55,443 --> 00:44:57,403
You never sleep that deeply.

865
00:44:57,403 --> 00:44:59,655
No, no, don't be a scold.

866
00:44:59,655 --> 00:45:03,451
(quietly):
♪ Feelin' a feelin' ♪

867
00:45:04,535 --> 00:45:10,917
♪ For somethin' there ain't
too much of... ♪

868
00:45:11,751 --> 00:45:13,794
I'm worried about Petra.

869
00:45:16,213 --> 00:45:19,383
She's starting to disappear
into herself.

870
00:45:20,509 --> 00:45:22,386
Be specific.

871
00:45:25,306 --> 00:45:28,809
She keeps coming home
with bruises on her shins.

872
00:45:29,810 --> 00:45:33,147
And then when I ask her
about it, she gets quiet.

873
00:45:34,899 --> 00:45:37,526
I mean, I hope
it's just playground football

874
00:45:37,526 --> 00:45:40,446
and not some Biodeutsche thing.

875
00:45:40,446 --> 00:45:43,282
Hmm, we talked about this.

876
00:45:44,617 --> 00:45:47,703
But maybe we just need
to put more effort

877
00:45:47,703 --> 00:45:50,623
into finding her a friend.

878
00:45:50,623 --> 00:45:52,583
Last year was really hard

879
00:45:52,583 --> 00:45:56,045
to be locked up alone
with two old ladies like us.

880
00:45:59,507 --> 00:46:02,426
She's old enough to learn piano.

881
00:46:04,178 --> 00:46:06,097
I'll teach her.

882
00:46:07,390 --> 00:46:09,100
(Sharon laughs softly)

883
00:46:10,893 --> 00:46:13,104
Yeah.

884
00:46:13,104 --> 00:46:15,523
That might be good.

885
00:46:16,691 --> 00:46:18,859
How's your heart?

886
00:46:19,944 --> 00:46:22,154
Better now.

887
00:46:23,406 --> 00:46:25,616
(song continues playing)

888
00:46:39,130 --> 00:46:42,675
(Symphony No. 5 in D Minor,
Op. 47: IV. Finale over radio)

889
00:46:44,051 --> 00:46:47,096
(sighs):
Knock, knock. Who's there?

890
00:46:47,096 --> 00:46:49,724
Lenny?

891
00:46:49,724 --> 00:46:52,059
Walter?

892
00:46:52,059 --> 00:46:55,062
Oh, it's you, MTT.

893
00:46:55,062 --> 00:46:58,232
Why do you insist on holding
things up like that?

894
00:46:58,232 --> 00:46:59,900
Your business here is rejoicing,

895
00:46:59,900 --> 00:47:03,654
not screaming
like a fucking porn star.

896
00:47:03,654 --> 00:47:05,781
RADIO ANNOUNCER: Michael Tilson
Thomas... (speaks German)

897
00:47:05,781 --> 00:47:07,992
(toothbrush buzzing)

898
00:47:14,457 --> 00:47:16,459
Hello, Petra.

899
00:47:18,502 --> 00:47:21,505
Why are you lurking? Hmm?

900
00:47:22,339 --> 00:47:24,592
Tell me and I'll help.

901
00:47:25,342 --> 00:47:26,886
-TÁR: Sharon?
-Hmm?

902
00:47:26,886 --> 00:47:29,180
Uh, I'm taking Petra to school.

903
00:47:29,180 --> 00:47:30,681
Oh, okay.

904
00:47:30,681 --> 00:47:33,267
-Come on.
-Tschüss.

905
00:47:53,287 --> 00:47:56,207
TÁR:
Who'll bear the pall?

906
00:47:56,207 --> 00:47:58,000
"We," said the wren,

907
00:47:58,000 --> 00:48:01,045
-"both the cock and the hen."
-The hen.

908
00:48:01,045 --> 00:48:02,880
"I'll..." (sputters)

909
00:48:02,880 --> 00:48:05,174
BOTH:
"We'll bear the pall."

910
00:48:05,174 --> 00:48:06,967
And who'll sing a psalm?

911
00:48:06,967 --> 00:48:11,472
"I," said the thrush
as she sat on a bush.

912
00:48:11,472 --> 00:48:13,557
"I'll sing a song."

913
00:48:13,557 --> 00:48:15,643
"Who'll toll the bell?"

914
00:48:15,643 --> 00:48:17,144
"I," said the bull,

915
00:48:17,144 --> 00:48:19,647
"because I can pull.

916
00:48:19,647 --> 00:48:21,148
I'll toll the bell."

917
00:48:21,148 --> 00:48:23,984
BOTH:
All the birds of the air

918
00:48:23,984 --> 00:48:27,154
fell a-sighing and a-sobbing

919
00:48:27,154 --> 00:48:30,199
when they heard the bell toll

920
00:48:30,199 --> 00:48:34,120
for poor Cock Robin!

921
00:48:39,625 --> 00:48:40,751
(children chattering)

922
00:48:40,751 --> 00:48:43,087
TÁR:
It's gonna be okay.

923
00:48:47,508 --> 00:48:49,718
All right.
Okay, which one is she?

924
00:48:49,718 --> 00:48:51,846
The red one.

925
00:48:54,723 --> 00:48:56,767
-Bye.
-Go on.

926
00:49:00,938 --> 00:49:03,190
(children continue chattering)

927
00:49:07,778 --> 00:49:09,697
TÁR:
Hallo, Johanna.

928
00:49:12,116 --> 00:49:14,118
I'm Petra's father.

929
00:49:14,994 --> 00:49:18,080
She's told me a lot about you.

930
00:49:20,958 --> 00:49:23,294
I know what you're doing to her.

931
00:49:23,627 --> 00:49:27,339
And if you ever do it again,
do you know what I'll do?

932
00:49:28,841 --> 00:49:30,509
I'll get you.

933
00:49:31,677 --> 00:49:36,724
And if you tell any grown-up
what I just said...

934
00:49:38,058 --> 00:49:39,727
... they won't believe you.

935
00:49:40,102 --> 00:49:42,688
Because I'm a grown-up.

936
00:49:44,940 --> 00:49:46,275
But you need to believe me,

937
00:49:46,775 --> 00:49:48,235
I will get you.

938
00:49:52,031 --> 00:49:53,490
Remember this Johanna,

939
00:49:55,743 --> 00:49:58,537
God watches us all.

940
00:50:03,834 --> 00:50:06,253
TÁR:
Hello. Hi.

941
00:50:12,760 --> 00:50:14,929
They're all in the chamber hall?

942
00:50:14,929 --> 00:50:16,764
Yes.

943
00:50:16,764 --> 00:50:18,933
No.

944
00:50:20,017 --> 00:50:22,186
(Tár sighs)

945
00:50:42,122 --> 00:50:44,333
(latch clicks)

946
00:50:52,841 --> 00:50:55,052
(urinating)

947
00:50:58,806 --> 00:51:01,267
(sniffs)
Good morning.

948
00:51:02,393 --> 00:51:04,812
Oh, I'm sorry, Maestro.

949
00:51:04,812 --> 00:51:06,689
We weren't sure you were coming.

950
00:51:06,689 --> 00:51:10,025
We were told there might be,
um, a scheduling conflict.

951
00:51:10,025 --> 00:51:12,069
-Would you like me
to take notes? -(clicking pen)

952
00:51:12,069 --> 00:51:13,404
No, thank you, Sebastian.

953
00:51:13,404 --> 00:51:14,863
-That won't be necessary.
-(clicking stops)

954
00:51:14,863 --> 00:51:16,657
Do we all have
our rating sheets?

955
00:51:16,657 --> 00:51:18,409
-We narrowed it down to three.
-Mm-hmm.

956
00:51:18,409 --> 00:51:20,786
So, unless anyone has
other business to discuss,

957
00:51:20,786 --> 00:51:22,830
let's bring in number one.

958
00:51:24,498 --> 00:51:27,960
(cello playing Tannhäuser und
der Sängerkrieg auf Wartburg)

959
00:51:38,345 --> 00:51:41,724
(cello playing Verdi Messa
da Requiem (Offertorio))

960
00:51:58,282 --> 00:52:01,618
(cello playing Pathétique
(Allegro con graza))

961
00:52:14,381 --> 00:52:16,175
(playing stops)

962
00:52:19,595 --> 00:52:21,805
(footsteps)

963
00:52:36,320 --> 00:52:38,489
(low chattering)

964
00:52:39,907 --> 00:52:42,659
Goossens stands, sounds his A.

965
00:52:42,659 --> 00:52:45,537
And of course, uh, Léon
was rather famous

966
00:52:45,537 --> 00:52:49,875
-for his, um, rather wide
vibrato, huh? -Hmm.

967
00:52:49,875 --> 00:52:53,545
Beecham looks up and says,
"Gentlemen, take your pick."

968
00:52:53,545 --> 00:52:56,215
(both chuckling)

969
00:52:56,215 --> 00:52:58,092
How's the writing going?

970
00:52:58,092 --> 00:53:01,345
Ah, I never know how
to answer that question.

971
00:53:01,345 --> 00:53:02,596
No.

972
00:53:02,596 --> 00:53:05,140
Makes it sound like
a physical act.

973
00:53:05,140 --> 00:53:07,267
Like, how's the shitting going?

974
00:53:07,267 --> 00:53:08,936
(laughing)

975
00:53:08,936 --> 00:53:10,187
Okay.

976
00:53:10,187 --> 00:53:12,231
How's the thinking going?

977
00:53:12,231 --> 00:53:14,608
Yeah, not so well.

978
00:53:14,608 --> 00:53:17,152
I keep hearing something
and getting excited

979
00:53:17,152 --> 00:53:20,864
only to catch myself
in pastiche.

980
00:53:20,864 --> 00:53:22,408
Hmm.

981
00:53:22,408 --> 00:53:24,701
Uh, it's all pastiche.

982
00:53:24,701 --> 00:53:27,121
We all have the same
musical grammar.

983
00:53:27,121 --> 00:53:29,957
Uh, just look at Beethoven Five.

984
00:53:29,957 --> 00:53:33,252
The third movement's theme has
the same sequence of intervals

985
00:53:33,252 --> 00:53:37,005
as the opening theme of the
final movement of Mozart Forty.

986
00:53:37,005 --> 00:53:39,299
Mm, th-that could've been
a coincidence.

987
00:53:39,299 --> 00:53:41,260
No. Not in this case.

988
00:53:41,260 --> 00:53:44,054
If you examine
the sketchbooks he used,

989
00:53:44,054 --> 00:53:48,183
29 bars of Mozart's
finale appear.

990
00:53:48,183 --> 00:53:50,477
Copied out by Beethoven.

991
00:53:50,477 --> 00:53:54,815
Oh, my God. I find that
extremely depressing.

992
00:53:54,815 --> 00:53:56,650
I finished reading
your manuscript.

993
00:53:56,650 --> 00:53:58,402
It's very good, Lydia.

994
00:53:58,402 --> 00:54:00,487
One for the ages.

995
00:54:00,487 --> 00:54:02,865
And, I dare say,
will be available

996
00:54:02,865 --> 00:54:04,533
long after my book
has been forgotten.

997
00:54:04,533 --> 00:54:06,076
Oh, yes, you're right.

998
00:54:06,076 --> 00:54:09,621
The entire first printing
will always be available.

999
00:54:09,621 --> 00:54:11,832
Too modest, as usual.

1000
00:54:20,424 --> 00:54:22,426
Thank you, Andris.

1001
00:54:23,427 --> 00:54:25,304
I'll cherish this.

1002
00:54:25,304 --> 00:54:27,556
You may use it.

1003
00:54:27,556 --> 00:54:29,892
A-a blurb for the covers.

1004
00:54:31,101 --> 00:54:33,770
Oh, thank you.

1005
00:54:33,770 --> 00:54:35,772
I'll send it to the publisher.

1006
00:54:35,772 --> 00:54:37,733
Hopefully, there's still time.

1007
00:54:37,733 --> 00:54:40,027
I'm proud to call you my pupil,

1008
00:54:40,027 --> 00:54:41,570
uh, even though there was really

1009
00:54:41,570 --> 00:54:42,821
nothing I could teach you.

1010
00:54:42,821 --> 00:54:44,364
Now, that's not true.

1011
00:54:44,364 --> 00:54:47,201
I'd never have the position
here were it not for you.

1012
00:54:47,201 --> 00:54:49,745
Then you'd be in London,
New York.

1013
00:54:49,745 --> 00:54:51,622
They're not Berlin.

1014
00:54:52,706 --> 00:54:55,250
Besides, I'm not sure
what Sharon would do,

1015
00:54:55,250 --> 00:54:56,502
were we ever to leave.

1016
00:54:56,502 --> 00:54:58,295
She's so close with her family.

1017
00:54:58,295 --> 00:55:01,798
Ah, yeah, the Goodnow sisters.

1018
00:55:01,798 --> 00:55:04,551
I remember the elder one
being an absolute ball-breaker

1019
00:55:04,551 --> 00:55:07,596
while she still held sway at DG.

1020
00:55:07,596 --> 00:55:11,683
-Heike is a woman
of many opinions. -Oh.

1021
00:55:11,683 --> 00:55:12,893
And that voice.

1022
00:55:12,893 --> 00:55:14,228
I mean, the signal-to-noise
ratio,

1023
00:55:14,228 --> 00:55:16,396
-it's unbearable.
-(chuckles)

1024
00:55:16,396 --> 00:55:18,732
I've had to bolt-hole
at my old place in town

1025
00:55:18,732 --> 00:55:21,235
to get any writing done.

1026
00:55:21,235 --> 00:55:22,861
Schopenhauer measured
a man's intelligence

1027
00:55:22,861 --> 00:55:25,072
against his sensitivity
to noise.

1028
00:55:25,072 --> 00:55:26,615
(chuckles)

1029
00:55:26,615 --> 00:55:29,660
Didn't he once also throw
a woman down a flight of stairs

1030
00:55:29,660 --> 00:55:31,161
who later sued him?

1031
00:55:31,161 --> 00:55:32,454
(chuckles):
Yes.

1032
00:55:32,454 --> 00:55:34,081
Although, it's unclear

1033
00:55:34,081 --> 00:55:35,624
this private
and personal failing

1034
00:55:35,624 --> 00:55:38,418
is at all relevant to his work.

1035
00:55:38,418 --> 00:55:40,754
(both chuckling)

1036
00:55:40,754 --> 00:55:42,965
(tires squeal)

1037
00:55:45,801 --> 00:55:47,886
You're late.

1038
00:55:47,886 --> 00:55:49,346
(driver speaking German)

1039
00:55:49,346 --> 00:55:50,556
Here, give me your stick.

1040
00:55:50,556 --> 00:55:52,307
-Thank you.
-I've got it.

1041
00:55:52,307 --> 00:55:55,519
(distant siren wailing)

1042
00:56:01,358 --> 00:56:03,569
(meditative breaths)

1043
00:56:23,964 --> 00:56:26,049
♪ ♪

1044
00:56:37,311 --> 00:56:39,813
(exhaling)

1045
00:56:39,813 --> 00:56:42,065
-(inhales deeply)
-♪ ♪

1046
00:56:48,363 --> 00:56:50,574
(bell chiming in distance)

1047
00:56:57,497 --> 00:56:59,708
(chiming continues)

1048
00:57:03,462 --> 00:57:05,797
(Tár mimicking chiming)

1049
00:57:11,470 --> 00:57:13,513
(plays two notes
matching bell chime)

1050
00:57:13,513 --> 00:57:16,141
(Tár mimics chiming)

1051
00:57:29,404 --> 00:57:31,531
(exhales)

1052
00:57:33,492 --> 00:57:35,118
(exhales)

1053
00:57:37,663 --> 00:57:39,414
(shrill scream in distance)

1054
00:57:40,666 --> 00:57:42,918
(woman continues screaming)

1055
00:57:45,295 --> 00:57:47,464
(siren wailing)

1056
00:57:49,508 --> 00:57:51,718
(screaming continues)

1057
00:58:05,482 --> 00:58:07,442
(screaming continues)

1058
00:58:07,442 --> 00:58:09,778
(Sharon breathing rhythmically)

1059
00:58:20,122 --> 00:58:22,332
(bell chiming in distance)

1060
00:58:27,379 --> 00:58:29,047
(sighs)

1061
00:58:46,106 --> 00:58:47,315
(sighs)

1062
00:58:47,315 --> 00:58:49,609
(plays two notes
matching bell chime)

1063
00:58:56,366 --> 00:58:58,577
(playing gentle melody)

1064
00:59:05,125 --> 00:59:08,503
(orchestra playing Mahler
Symphony No. 5 Trauermarsch)

1065
00:59:22,058 --> 00:59:24,603
(tempo slows)

1066
00:59:38,784 --> 00:59:41,036
Okay. Uh...

1067
00:59:42,537 --> 00:59:43,872
Gut, gut.

1068
00:59:43,872 --> 00:59:45,916
(speaking German)

1069
00:59:46,833 --> 00:59:49,085
... Christian...
(continues speaking German)

1070
00:59:53,089 --> 00:59:54,591
Okay?

1071
00:59:54,591 --> 00:59:56,718
Uh, but it's also...

1072
00:59:56,718 --> 00:59:57,928
It's like we're hearing it

1073
00:59:57,928 --> 01:00:00,514
from a very, very great
distance.

1074
01:00:00,514 --> 01:00:06,061
So it's... (vocalizing)

1075
01:00:06,061 --> 01:00:07,312
Ju... Uh...

1076
01:00:07,312 --> 01:00:08,980
Sorry. Ist Harald da?

1077
01:00:08,980 --> 01:00:10,273
(Harald speaks German)

1078
01:00:10,273 --> 01:00:11,608
(speaks German)

1079
01:00:11,608 --> 01:00:13,777
Harald? I was just wondering
if you might, um,

1080
01:00:13,777 --> 01:00:16,571
uh, quickly rig something up
for us?

1081
01:00:17,405 --> 01:00:19,616
(trumpet solo playing)

1082
01:00:25,956 --> 01:00:28,083
♪ ♪

1083
01:00:32,379 --> 01:00:34,589
(playing louder)

1084
01:00:41,471 --> 01:00:44,808
(cymbals crash,
orchestra ends with flourish)

1085
01:00:47,435 --> 01:00:49,437
Gut, gut, gut. (speaks German)

1086
01:00:49,437 --> 01:00:51,731
-Harald?
-(Harald speaks German)

1087
01:00:51,731 --> 01:00:53,483
Uh, we'll want the same
backstage setup

1088
01:00:53,483 --> 01:00:54,734
for the live recording.

1089
01:00:54,734 --> 01:00:56,862
(quietly):
One, two, one.

1090
01:00:56,862 --> 01:00:59,656
(orchestra playing
jaunty classical music)

1091
01:01:16,214 --> 01:01:17,757
-(speaks indistinctly)
-(playing stops)

1092
01:01:17,757 --> 01:01:20,927
(speaking German)

1093
01:01:24,389 --> 01:01:27,309
Okay? Looks great, but...
(clears throat)

1094
01:01:27,309 --> 01:01:28,602
... we need to hear it.

1095
01:01:28,602 --> 01:01:31,396
Okay? It's not...
(vocalizing)

1096
01:01:31,396 --> 01:01:32,856
(vocalizing intensifies)

1097
01:01:32,856 --> 01:01:34,024
Hey.

1098
01:01:34,024 --> 01:01:35,400
-(speaking low)
-(snaps fingers)

1099
01:01:35,400 --> 01:01:37,444
(speaking German)

1100
01:01:41,323 --> 01:01:42,866
Ja? (whooshes)

1101
01:01:42,866 --> 01:01:45,160
Okay? (puffing)

1102
01:01:46,536 --> 01:01:48,663
(speaks German)

1103
01:01:51,374 --> 01:01:53,543
♪ ♪

1104
01:01:58,381 --> 01:02:00,383
No. (speaks German)

1105
01:02:00,383 --> 01:02:01,843
Bah! (exhales)

1106
01:02:02,677 --> 01:02:04,304
It's-it's much too slow.

1107
01:02:05,138 --> 01:02:07,182
(speaking German)

1108
01:02:11,227 --> 01:02:12,896
(plays sharp chords)

1109
01:02:12,896 --> 01:02:14,481
Mm-hmm.

1110
01:02:14,481 --> 01:02:16,691
Okay.

1111
01:02:16,691 --> 01:02:18,360
Okay, tutti.

1112
01:02:18,360 --> 01:02:20,070
Uh...

1113
01:02:20,070 --> 01:02:21,947
(speaking German)

1114
01:02:21,947 --> 01:02:24,282
How are things feeling up here?

1115
01:02:24,282 --> 01:02:25,533
Fine, yeah.

1116
01:02:25,533 --> 01:02:27,160
Yeah, actually great, but, uh,

1117
01:02:27,160 --> 01:02:29,579
it's a shame we don't record
this one direct-to-disk.

1118
01:02:29,579 --> 01:02:32,499
(groans): Oh. It's criminal,
is more like it.

1119
01:02:33,583 --> 01:02:35,251
Will you shoot me the MP3s?

1120
01:02:35,251 --> 01:02:37,212
Yeah, sure,
but don't you want WAV files?

1121
01:02:37,212 --> 01:02:40,548
No, just think what people
will actually be streaming.

1122
01:02:40,548 --> 01:02:41,925
Uh, what about video?

1123
01:02:41,925 --> 01:02:43,843
Yes, yes.
Uh, stage left A camera.

1124
01:02:43,843 --> 01:02:45,428
-Okay.
-All right. Thanks, guys.

1125
01:02:45,428 --> 01:02:47,138
Okay. Uh, bye.
You're quite welcome.

1126
01:02:47,138 --> 01:02:49,391
(speaking German)

1127
01:02:49,391 --> 01:02:50,934
-SHARON: There?
-TÁR: Yeah.

1128
01:02:50,934 --> 01:02:52,727
You want us to come,
to come in stronger there?

1129
01:02:52,727 --> 01:02:54,104
-FRANCESCA: Okay, then yeah.
-TÁR: Yeah.

1130
01:02:54,104 --> 01:02:55,689
Here, 'cause the reigning
dynamic is forte,

1131
01:02:55,689 --> 01:02:57,315
-which is not good.
-(Sebastian clears throat)

1132
01:02:57,315 --> 01:02:58,858
-FRANCESCA: Hmm.
-TÁR: Yeah?

1133
01:02:58,858 --> 01:03:02,195
(whispering): Yeah. Um, just
one small thing, Maestro.

1134
01:03:02,195 --> 01:03:04,948
During the scherzo, um,

1135
01:03:04,948 --> 01:03:08,159
th-th-the clarinet solo's
still a bit too loud.

1136
01:03:08,159 --> 01:03:10,245
It should really be
an accompanying figure

1137
01:03:10,245 --> 01:03:13,289
-to the first violins.
-TÁR: Hmm.

1138
01:03:13,289 --> 01:03:16,793
But apart from that, I'd say
we're in very good shape.

1139
01:03:16,793 --> 01:03:18,628
Thank you, Sebastian.

1140
01:03:18,628 --> 01:03:20,797
Thank you. (clears throat)

1141
01:03:25,927 --> 01:03:27,554
Accurate assessment?

1142
01:03:27,554 --> 01:03:29,389
I don't think so.

1143
01:03:29,389 --> 01:03:32,809
The clarinet is marked piano,
and we are marked pianissimo.

1144
01:03:32,809 --> 01:03:34,853
Sebastian likes to sit
in the stalls,

1145
01:03:34,853 --> 01:03:38,398
but there's no problem
with the balance in the circle.

1146
01:03:38,398 --> 01:03:40,275
TÁR:
Mm-hmm.

1147
01:03:41,401 --> 01:03:42,944
Mm-hmm.

1148
01:03:42,944 --> 01:03:45,196
Something a bit more playful.

1149
01:03:45,196 --> 01:03:46,698
Mm-hmm.

1150
01:03:50,535 --> 01:03:52,871
Oh, and here's something
Tanya and I did with Gustavo.

1151
01:03:52,871 --> 01:03:54,497
I think it's very powerful.

1152
01:03:54,497 --> 01:03:56,833
Yes, it's-it's really wonderful
work, uh, Karl.

1153
01:03:56,833 --> 01:03:58,668
I'm just wondering
if we might try something

1154
01:03:58,668 --> 01:04:01,755
a little less, uh, considered.

1155
01:04:04,257 --> 01:04:06,760
Something simple like this?

1156
01:04:06,760 --> 01:04:08,011
Hmm?

1157
01:04:08,011 --> 01:04:10,597
I'm not sure how you would
want to light it.

1158
01:04:10,597 --> 01:04:13,433
Have Harald dim
the houselights to half.

1159
01:04:14,309 --> 01:04:16,936
Houselights down half, please.

1160
01:04:20,732 --> 01:04:22,567
KARL:
I mean, we could make it work,

1161
01:04:22,567 --> 01:04:24,277
but we'd have to bring in
some lights.

1162
01:04:24,277 --> 01:04:26,321
TANYA:
Mm-hmm.

1163
01:04:29,240 --> 01:04:31,034
KARL: If we want to do
something like this,

1164
01:04:31,034 --> 01:04:33,203
uh, we'll have to bring
the hot lights

1165
01:04:33,203 --> 01:04:35,330
next week, Tanya--
forget about the strobes.

1166
01:04:35,330 --> 01:04:37,624
-TANYA: Hmm.
-(departing footsteps)

1167
01:04:38,416 --> 01:04:39,876
TÁR:
Thank you for waiting.

1168
01:04:39,876 --> 01:04:41,544
Of course, Maestro.

1169
01:04:41,544 --> 01:04:44,631
How are we feeling
about today's rehearsal?

1170
01:04:44,631 --> 01:04:48,301
Well, Sebastian thinks
your solo in the scherzo

1171
01:04:48,301 --> 01:04:50,470
is, uh, a bit loud.

1172
01:04:50,470 --> 01:04:51,721
It's possible.

1173
01:04:51,721 --> 01:04:53,640
Hmm. I don't agree.

1174
01:04:53,640 --> 01:04:56,935
Your dynamic marking is higher
than that of the first violin.

1175
01:04:56,935 --> 01:04:58,436
Yes, that's true.

1176
01:04:58,436 --> 01:05:00,146
(sighs heavily) Look.

1177
01:05:00,146 --> 01:05:03,858
Sebastian's getting old, Knut.

1178
01:05:03,858 --> 01:05:05,568
I'm rotating him out.

1179
01:05:06,486 --> 01:05:08,696
You're the first to know.

1180
01:05:11,699 --> 01:05:13,993
Well...

1181
01:05:15,745 --> 01:05:19,124
Then I will organize a caucus,
and we'll take a vote.

1182
01:05:19,124 --> 01:05:22,085
No. No, you won't.

1183
01:05:22,085 --> 01:05:24,546
A vote must be taken.

1184
01:05:24,546 --> 01:05:26,756
I am familiar with
the electoral conclave.

1185
01:05:26,756 --> 01:05:28,883
But the appointment
of the assistant conductor

1186
01:05:28,883 --> 01:05:31,511
is entirely my decision.

1187
01:05:31,511 --> 01:05:33,096
(Knut inhales deeply)

1188
01:05:33,096 --> 01:05:34,430
Yes.

1189
01:05:34,430 --> 01:05:37,684
So, I can count on your
support with the others?

1190
01:05:37,684 --> 01:05:39,602
(chuckles softly)

1191
01:05:39,602 --> 01:05:40,979
Yes.

1192
01:05:40,979 --> 01:05:42,355
Good.

1193
01:05:42,355 --> 01:05:43,606
Who will you replace him with?

1194
01:05:43,606 --> 01:05:45,525
Oh. I'm considering a few names,

1195
01:05:45,525 --> 01:05:48,820
but the main thing is we
proceed with this immediately.

1196
01:05:48,820 --> 01:05:51,114
KNUT:
I understand.

1197
01:05:51,114 --> 01:05:53,449
Maestro, uh, the other players
would like to know

1198
01:05:53,449 --> 01:05:55,160
if you have chosen
the companion piece.

1199
01:05:55,160 --> 01:05:56,995
Ach!

1200
01:05:57,412 --> 01:05:58,955
Soon, Knut, I promise.

1201
01:05:58,955 --> 01:05:59,998
KNUT:
Okay. Danke.

1202
01:06:13,219 --> 01:06:15,471
(panting)

1203
01:06:24,898 --> 01:06:26,691
(short whistle)

1204
01:06:27,567 --> 01:06:28,568
Oh.

1205
01:06:28,568 --> 01:06:31,029
-I...
-It's okay.

1206
01:06:31,029 --> 01:06:32,697
Danke.

1207
01:06:48,087 --> 01:06:50,298
(playing simple melody)

1208
01:06:55,511 --> 01:06:57,263
(light knocking)

1209
01:06:58,223 --> 01:07:04,020
♪ Changing major to minor. ♪

1210
01:07:05,104 --> 01:07:07,190
(Francesca clears her throat)

1211
01:07:07,190 --> 01:07:09,442
Uh, I'm sorry, I knocked.

1212
01:07:10,818 --> 01:07:13,905
I knew you wanted your keys
back as quickly as possible.

1213
01:07:13,905 --> 01:07:15,198
Yes, thanks.

1214
01:07:15,198 --> 01:07:17,033
Did you use the company card?

1215
01:07:17,033 --> 01:07:18,117
Yeah.

1216
01:07:18,117 --> 01:07:19,702
We can use it for your, um...

1217
01:07:19,702 --> 01:07:21,746
(clears throat)
... your taxi home.

1218
01:07:25,917 --> 01:07:27,835
Yeah. It's all right.

1219
01:07:27,835 --> 01:07:29,796
You can go.

1220
01:07:30,880 --> 01:07:34,300
Uh, it wasn't just the keys.

1221
01:07:37,011 --> 01:07:40,056
I-I need someone to hold me.

1222
01:07:41,975 --> 01:07:44,644
This isn't the place, Francesca.

1223
01:07:45,979 --> 01:07:48,398
You're... (stammers)
That's not about...

1224
01:07:48,398 --> 01:07:49,691
(sniffles)

1225
01:07:49,691 --> 01:07:51,651
I just...

1226
01:07:51,651 --> 01:07:55,113
I just got this from someone
over at Accordion.

1227
01:07:57,115 --> 01:07:59,325
(breath trembling)

1228
01:08:07,083 --> 01:08:08,626
Oh, no.

1229
01:08:08,626 --> 01:08:10,962
(Francesca's breath trembles)

1230
01:08:10,962 --> 01:08:12,880
(sighs):
When did this happen?

1231
01:08:12,880 --> 01:08:14,841
Day before yesterday.

1232
01:08:16,467 --> 01:08:19,887
That email she sent you,
it felt like she was already...

1233
01:08:19,887 --> 01:08:23,016
Delete it. And the rest.

1234
01:08:23,016 --> 01:08:26,185
There's no reason to get
caught up in any intrigue.

1235
01:08:27,395 --> 01:08:29,939
(sniffles)

1236
01:08:29,939 --> 01:08:31,357
(crying)

1237
01:08:31,357 --> 01:08:33,151
Now, now.

1238
01:08:34,569 --> 01:08:39,657
Come on. There's nothing
we could have done to stop her.

1239
01:08:39,657 --> 01:08:42,285
She wasn't one of us.

1240
01:08:42,285 --> 01:08:44,495
(crying continues)

1241
01:08:53,588 --> 01:08:55,548
(sniffles)

1242
01:08:57,425 --> 01:09:01,220
I can't stop thinking about
our trip up the Ucayali.

1243
01:09:01,220 --> 01:09:02,680
TÁR:
Hmm.

1244
01:09:02,680 --> 01:09:04,682
-The three of us were so close.
-Yes.

1245
01:09:04,682 --> 01:09:08,102
But that was before
she started making demands.

1246
01:09:09,896 --> 01:09:14,859
There was just something
not quite right about her.

1247
01:09:14,859 --> 01:09:17,653
She had so much promise.

1248
01:09:17,653 --> 01:09:19,405
She did.

1249
01:09:19,405 --> 01:09:21,324
Yes.

1250
01:09:21,324 --> 01:09:23,659
Almost as much as you.

1251
01:09:27,663 --> 01:09:30,958
Now, we have to forget
about her.

1252
01:09:34,504 --> 01:09:36,422
You understand?

1253
01:09:41,260 --> 01:09:43,304
-Right?
-(sniffles)

1254
01:09:45,765 --> 01:09:47,308
-I'm sorry.
-No.

1255
01:09:47,308 --> 01:09:48,768
I know you're working.

1256
01:09:48,768 --> 01:09:50,353
-Oh.
-(sniffles)

1257
01:09:50,353 --> 01:09:51,771
Your... (sniffles)

1258
01:09:51,771 --> 01:09:54,690
Your keys are on
the kitchen table.

1259
01:10:35,982 --> 01:10:37,900
(inhales sharply)

1260
01:10:56,085 --> 01:10:58,254
(gentle melody plays)

1261
01:10:59,088 --> 01:11:01,007
SHARON:
She went straight to sleep.

1262
01:11:01,007 --> 01:11:03,509
(liquid pouring)

1263
01:11:03,509 --> 01:11:05,970
Didn't even have
to hold her foot.

1264
01:11:10,558 --> 01:11:13,936
And she came home
in a much better mood.

1265
01:11:13,936 --> 01:11:15,813
Oh, attagirl.

1266
01:11:15,813 --> 01:11:17,982
♪ ♪

1267
01:11:20,610 --> 01:11:22,945
(Sharon sighs)

1268
01:11:25,448 --> 01:11:27,450
Met the new cellist today.

1269
01:11:27,450 --> 01:11:30,119
Oh, what was that like?

1270
01:11:30,119 --> 01:11:32,538
Olga Metkina.

1271
01:11:32,538 --> 01:11:34,207
Russian.

1272
01:11:34,207 --> 01:11:36,334
Strong player.

1273
01:11:36,334 --> 01:11:38,544
Good.

1274
01:11:38,544 --> 01:11:41,839
Her facial posture
is a bit much.

1275
01:11:41,839 --> 01:11:43,174
(chuckles):
How so?

1276
01:11:43,174 --> 01:11:44,759
Her legato.

1277
01:11:44,759 --> 01:11:47,220
Looks like she's on
the verge of climaxing.

1278
01:11:47,220 --> 01:11:48,804
(both laughing)

1279
01:11:51,557 --> 01:11:53,851
She is young.

1280
01:11:53,851 --> 01:11:55,645
Ah, so you've met her.

1281
01:11:57,563 --> 01:11:59,273
No, no.

1282
01:11:59,273 --> 01:12:01,734
Uh, Francesca
mentioned something.

1283
01:12:01,734 --> 01:12:04,612
I think she's arranging
a welcome lunch.

1284
01:12:06,864 --> 01:12:09,742
You may want to hold off
on that.

1285
01:12:09,742 --> 01:12:12,537
Her invitation is conditional.

1286
01:12:15,540 --> 01:12:18,251
You have reservations?

1287
01:12:18,251 --> 01:12:20,169
No.

1288
01:12:20,169 --> 01:12:22,672
Not really.

1289
01:12:22,672 --> 01:12:25,258
We need to see if she fits in.

1290
01:12:29,053 --> 01:12:31,305
Did you take your pill?

1291
01:12:32,265 --> 01:12:34,809
No.

1292
01:12:34,809 --> 01:12:37,687
Thank you for reminding me.

1293
01:12:44,277 --> 01:12:46,612
(distant, rhythmic ticking)

1294
01:13:08,467 --> 01:13:10,678
(ticking grows louder)

1295
01:13:21,439 --> 01:13:23,733
(ticking continues
to grow louder)

1296
01:13:41,292 --> 01:13:43,628
(ticking loudly)

1297
01:14:04,982 --> 01:14:07,360
How was Johanna yesterday?

1298
01:14:07,360 --> 01:14:10,112
She stays away now.

1299
01:14:10,112 --> 01:14:12,406
You let me know if that changes.

1300
01:14:15,618 --> 01:14:19,372
Petra, last night, you weren't,
by any chance, in my study?

1301
01:14:20,331 --> 01:14:22,124
-No, Lydia.
-Because you do know

1302
01:14:22,124 --> 01:14:24,460
you're not supposed to be
in there without me.

1303
01:14:24,460 --> 01:14:25,961
I know.

1304
01:14:27,838 --> 01:14:29,632
TÁR:
That's right.

1305
01:14:30,633 --> 01:14:33,052
(quiet rattling)

1306
01:14:33,052 --> 01:14:35,304
(rattling continues)

1307
01:14:39,392 --> 01:14:41,435
(sighs)

1308
01:14:41,435 --> 01:14:43,729
(orchestra playing
classical music)

1309
01:15:02,998 --> 01:15:04,709
S...

1310
01:15:05,501 --> 01:15:06,836
-It's not so simple.
-(music stops)

1311
01:15:06,836 --> 01:15:08,587
It's got...
it's got to be messier.

1312
01:15:08,587 --> 01:15:10,756
(speaking German)

1313
01:15:12,883 --> 01:15:14,260
Okay?

1314
01:15:14,260 --> 01:15:16,470
(continues speaking German)

1315
01:15:22,810 --> 01:15:25,354
A lot of pressure. Okay?

1316
01:15:25,354 --> 01:15:28,232
(speaking German)

1317
01:15:28,232 --> 01:15:29,650
-Okay?
-(musicians chuckling)

1318
01:15:29,650 --> 01:15:31,444
S-So familiar to everyone here.

1319
01:15:31,444 --> 01:15:34,530
It really doesn't help you to
know this piece so well. Okay.

1320
01:15:35,823 --> 01:15:37,616
Same place.

1321
01:15:39,076 --> 01:15:41,287
(classical music resumes)

1322
01:15:50,713 --> 01:15:52,840
(speaking German)

1323
01:16:06,562 --> 01:16:08,105
Please.

1324
01:16:08,105 --> 01:16:10,399
-Please, please, please.
-(music stops)

1325
01:16:10,399 --> 01:16:12,568
You must watch.

1326
01:16:13,819 --> 01:16:15,988
(speaking German)

1327
01:16:16,906 --> 01:16:18,616
Okay?

1328
01:16:18,616 --> 01:16:19,950
It's got to be like, uh,

1329
01:16:19,950 --> 01:16:23,496
just one person
singing their heart out.

1330
01:16:25,748 --> 01:16:28,042
And...

1331
01:16:28,042 --> 01:16:30,211
(speaking German)

1332
01:16:33,756 --> 01:16:35,174
Okay.

1333
01:16:35,174 --> 01:16:37,384
(continues speaking German)

1334
01:16:43,682 --> 01:16:45,226
(sighs):
Okay.

1335
01:16:47,853 --> 01:16:50,105
SEBASTIAN:
(grunts) Maestro.

1336
01:16:50,105 --> 01:16:51,398
What a surprise.

1337
01:16:51,398 --> 01:16:53,192
-I was just having
a spot of lunch. -Hmm.

1338
01:16:53,192 --> 01:16:54,610
C-Can I offer you anything?

1339
01:16:54,610 --> 01:16:56,403
-Uh, no, thank you.
-(pen clicking)

1340
01:16:56,403 --> 01:16:59,114
-Mm, well, some tea, perhaps?
-No, thank you, Sebastian.

1341
01:17:00,115 --> 01:17:03,035
You know, I forget sometimes
just how impressive

1342
01:17:03,035 --> 01:17:04,787
your collection is here.

1343
01:17:04,787 --> 01:17:06,956
Is that Kalinnikov?

1344
01:17:06,956 --> 01:17:08,582
-Yes. (chuckles)
-Ah.

1345
01:17:08,582 --> 01:17:10,626
Isn't he marvelous?

1346
01:17:10,626 --> 01:17:13,838
(laughs)
He belongs in a museum.

1347
01:17:13,838 --> 01:17:16,382
I rescued him
for a hundred rubles

1348
01:17:16,382 --> 01:17:18,759
-from a Kyiv street fair
back in '90. -Huh.

1349
01:17:18,759 --> 01:17:20,719
Right after the Wall came down.

1350
01:17:20,719 --> 01:17:23,055
(sighs) That must really
have been something.

1351
01:17:23,055 --> 01:17:26,267
-Oh, incredible to have
lived through it. -Hmm.

1352
01:17:26,267 --> 01:17:28,727
I'd only just arrived here
with Andris,

1353
01:17:28,727 --> 01:17:32,189
and suddenly the impossible
was possible.

1354
01:17:32,189 --> 01:17:33,732
Yeah.

1355
01:17:35,109 --> 01:17:37,653
I'd like to talk about that.

1356
01:17:37,653 --> 01:17:39,613
-The reunification?
-Uh, no, no.

1357
01:17:39,613 --> 01:17:41,657
But please, sit down.

1358
01:17:41,657 --> 01:17:44,869
No, uh, about the possibility

1359
01:17:44,869 --> 01:17:48,539
of you fronting
a subscription orchestra.

1360
01:17:48,539 --> 01:17:49,915
(chuckles):
But I already do.

1361
01:17:49,915 --> 01:17:52,626
Yes, but not as Kapellmeister.

1362
01:17:53,836 --> 01:17:57,214
If not now,
then when, Sebastian?

1363
01:17:58,424 --> 01:18:00,175
You mean leave Berlin?

1364
01:18:00,175 --> 01:18:03,345
Well, rotate somewhere, yes.

1365
01:18:03,345 --> 01:18:05,598
But this is my home.

1366
01:18:05,598 --> 01:18:08,851
Our only home is the podium.

1367
01:18:08,851 --> 01:18:11,270
We all live out of a suitcase.

1368
01:18:11,270 --> 01:18:13,480
You know that as well as anyone.

1369
01:18:19,653 --> 01:18:22,448
Just think about it.

1370
01:18:22,448 --> 01:18:24,867
Take your time. Mm?

1371
01:18:24,867 --> 01:18:27,953
It's not something
we need to decide now.

1372
01:18:30,706 --> 01:18:32,416
It's the girl, isn't it?

1373
01:18:32,416 --> 01:18:34,126
I'm sorry, what girl?

1374
01:18:34,126 --> 01:18:36,545
Y-You're not asking.

1375
01:18:36,545 --> 01:18:38,380
You're telling.

1376
01:18:38,380 --> 01:18:42,927
I knew as soon as she showed up
that my days here were numbered.

1377
01:18:42,927 --> 01:18:45,679
Andris told me not to worry,
but... (scoffs)

1378
01:18:45,679 --> 01:18:47,306
... I knew.

1379
01:18:47,306 --> 01:18:51,018
I'm sure I don't know
what you're talking about.

1380
01:18:51,018 --> 01:18:52,394
Oh, please.

1381
01:18:52,394 --> 01:18:54,480
Just because
nobody dares breathe it.

1382
01:18:54,480 --> 01:18:56,649
We know the things you do.

1383
01:18:56,649 --> 01:18:59,693
The little favors you grant.

1384
01:18:59,693 --> 01:19:01,153
I'm...

1385
01:19:01,153 --> 01:19:04,490
I really don't know
what to say, Sebastian.

1386
01:19:04,490 --> 01:19:06,784
I mean, you of all people

1387
01:19:06,784 --> 01:19:09,119
have the temerity
to question my integrity?

1388
01:19:09,119 --> 01:19:10,579
No, no.
I-I'm-I'm sorry, Maestro.

1389
01:19:10,579 --> 01:19:12,331
I don't, I don't know
what I'm saying.

1390
01:19:12,331 --> 01:19:15,042
No, no, no, it's clear you know
exactly what you're saying.

1391
01:19:15,042 --> 01:19:17,211
I mean, if that's how
you really feel about me,

1392
01:19:17,211 --> 01:19:19,088
then wouldn't you say
that staying is

1393
01:19:19,088 --> 01:19:20,422
entirely out of the question?

1394
01:19:20,422 --> 01:19:22,341
No, no, please, Maestro.
Please forgive me.

1395
01:19:22,341 --> 01:19:23,842
(sighs) For what?

1396
01:19:23,842 --> 01:19:27,429
Your obsequiousness,
your hypocrisy, your misogamy?

1397
01:19:27,429 --> 01:19:30,516
-I'm not a misogynist!
-Misogamy.

1398
01:19:30,516 --> 01:19:32,935
It's a hatred of marriage.

1399
01:19:34,520 --> 01:19:37,564
Andris is still
very much married.

1400
01:19:38,732 --> 01:19:43,612
And you occupy an apartment
on the same floor, don't you?

1401
01:19:43,612 --> 01:19:47,074
I just don't like
what he's implying.

1402
01:19:47,950 --> 01:19:51,120
It could lead to more than
Chinese whispers.

1403
01:19:51,120 --> 01:19:52,788
I know.

1404
01:19:52,788 --> 01:19:54,415
We barely survived Der Spiegel

1405
01:19:54,415 --> 01:19:56,709
when you and I
came out together.

1406
01:19:58,127 --> 01:20:02,673
But with Francesca, no one
could point their finger.

1407
01:20:02,673 --> 01:20:05,092
It's not like you two are
in a relationship.

1408
01:20:05,092 --> 01:20:06,510
Yeah, that's true.

1409
01:20:06,510 --> 01:20:08,887
I just...
Turns my stomach to think

1410
01:20:08,887 --> 01:20:11,640
the old robot will be right
about something.

1411
01:20:13,183 --> 01:20:17,229
He's probably already run
to Andris. (scoffs)

1412
01:20:17,229 --> 01:20:20,774
Well, is there someone
other than Francesca

1413
01:20:20,774 --> 01:20:23,027
you feel is more qualified?

1414
01:20:25,863 --> 01:20:28,490
There are others
equal to the task.

1415
01:20:31,118 --> 01:20:33,162
Hmm?

1416
01:20:33,162 --> 01:20:35,414
Maybe wait to decide.

1417
01:20:44,465 --> 01:20:46,258
Where are we at with DG?

1418
01:20:46,258 --> 01:20:49,928
-Uh, I spoke to an assistant
in Boyd Muir's office... -Hmm.

1419
01:20:49,928 --> 01:20:52,681
... who said they weren't sure
why they decided

1420
01:20:52,681 --> 01:20:56,477
on a digital-only set,
what the criteria were.

1421
01:20:56,477 --> 01:20:58,312
-(sighs)
-But I do know they just did

1422
01:20:58,312 --> 01:20:59,938
a full-vinyl pressing
for Long Yu.

1423
01:20:59,938 --> 01:21:01,690
Of course they did.

1424
01:21:01,690 --> 01:21:03,984
The Chinese market's incredible.

1425
01:21:03,984 --> 01:21:06,028
All right. Gloves off.

1426
01:21:06,028 --> 01:21:07,529
I'm going straight to Lucian.

1427
01:21:07,529 --> 01:21:08,947
Maybe he needs to be reminded of

1428
01:21:08,947 --> 01:21:10,783
his Annenberg
Inclusion Initiative.

1429
01:21:10,783 --> 01:21:12,367
(chuckles)

1430
01:21:12,367 --> 01:21:13,869
You've got
his contact details, right?

1431
01:21:13,869 --> 01:21:17,122
Mm-hmm.
I'll send it to you right now.

1432
01:21:18,207 --> 01:21:22,461
(groans)
My machine's misbehaving again.

1433
01:21:22,461 --> 01:21:24,379
I've already spoken to I.T.

1434
01:21:24,379 --> 01:21:26,590
Just here-- let me borrow yours.

1435
01:21:33,639 --> 01:21:35,516
Thank you.

1436
01:21:38,477 --> 01:21:40,354
Where's the matcha?

1437
01:21:47,820 --> 01:21:49,780
(door closes)

1438
01:21:59,915 --> 01:22:02,126
(Tár exhales softly)

1439
01:22:14,263 --> 01:22:16,431
(grunting)

1440
01:22:24,857 --> 01:22:26,859
Ah, I wasn't sure
where you were.

1441
01:22:26,859 --> 01:22:28,735
Was working out a kink.

1442
01:22:28,735 --> 01:22:31,155
The-the matcha's cold.
I-I'll get another.

1443
01:22:31,155 --> 01:22:32,489
It's all right.
I don't need it.

1444
01:22:32,489 --> 01:22:34,741
Let's just keep working.

1445
01:22:36,118 --> 01:22:38,120
(Tár clears throat)

1446
01:22:41,999 --> 01:22:44,168
Francesca, you did as I asked

1447
01:22:44,168 --> 01:22:47,963
and deleted any and all
correspondence with Krista,

1448
01:22:47,963 --> 01:22:49,590
correct?

1449
01:22:51,175 --> 01:22:54,178
Um, I'm not sure.

1450
01:22:55,220 --> 01:22:56,930
Uh, I'm-I'm... I'm not sure.

1451
01:22:56,930 --> 01:22:59,183
I-I'll double-check.

1452
01:23:06,231 --> 01:23:09,234
You know,
Sebastian's leaving us,

1453
01:23:09,234 --> 01:23:10,986
and I wondered if you might, uh,

1454
01:23:10,986 --> 01:23:14,990
compile a list
of suitable replacements.

1455
01:23:19,745 --> 01:23:22,998
Uh, of course, feel free
to add your own name.

1456
01:23:26,126 --> 01:23:28,545
-Thank you.
-(cell phone vibrates)

1457
01:23:29,880 --> 01:23:33,675
Oh, your-your lunch
with the new cellist.

1458
01:23:33,675 --> 01:23:34,927
Oh.

1459
01:23:34,927 --> 01:23:36,261
Meant to have you
reschedule that

1460
01:23:36,261 --> 01:23:38,096
'til after the orchestra votes.

1461
01:23:38,096 --> 01:23:40,098
I'll text her now.

1462
01:23:41,934 --> 01:23:44,102
No, wait. (scoffs)

1463
01:23:44,102 --> 01:23:47,022
Might as well
see what she's made of.

1464
01:23:47,022 --> 01:23:48,815
(Tár sniffles)

1465
01:23:50,859 --> 01:23:53,195
(dishes clinking quietly)

1466
01:23:55,447 --> 01:23:57,616
This food. (chuckles)

1467
01:23:59,159 --> 01:24:03,330
The cucumber salad's,
uh, very good.

1468
01:24:03,330 --> 01:24:05,415
It's kind of the only
real option in this place

1469
01:24:05,415 --> 01:24:07,000
if you're vegetarian.

1470
01:24:07,000 --> 01:24:08,835
Uh, do you eat fish?

1471
01:24:08,835 --> 01:24:10,671
Not really.

1472
01:24:13,298 --> 01:24:16,635
You know, we can go
somewhere else.

1473
01:24:16,635 --> 01:24:18,345
L-Like the Store Kitchen.

1474
01:24:18,345 --> 01:24:21,807
I mean, it's... uh, it's kind
of a silly tradition really

1475
01:24:21,807 --> 01:24:23,934
that new members
are brought here

1476
01:24:23,934 --> 01:24:27,020
to sup with the ghosts
of the past.

1477
01:24:27,020 --> 01:24:30,065
I mean, at some point,
everyone from... from Napoleon

1478
01:24:30,065 --> 01:24:33,986
to Beethoven tucked in for
a meal at one of these tables.

1479
01:24:33,986 --> 01:24:36,530
Yes, and Clara Zetkin.

1480
01:24:36,530 --> 01:24:38,073
I wonder which one.

1481
01:24:38,073 --> 01:24:40,951
Who's that?
It's a, uh, musician?

1482
01:24:40,951 --> 01:24:42,828
No. She helped found

1483
01:24:42,828 --> 01:24:45,872
Social Democratic
women's movement in Germany

1484
01:24:45,872 --> 01:24:49,209
and KPD until
Hitler came to power

1485
01:24:49,209 --> 01:24:52,087
and she was exiled
to Soviet Union.

1486
01:24:52,087 --> 01:24:53,505
Clara Zetkin?

1487
01:24:53,505 --> 01:24:54,881
Yes.

1488
01:24:54,881 --> 01:24:57,342
Every March 8th, we place
flowers at her plaque

1489
01:24:57,342 --> 01:24:59,970
in Kremlin Wall Necropolis.

1490
01:24:59,970 --> 01:25:01,471
Her birthday?

1491
01:25:01,471 --> 01:25:03,682
No, International Women's Day.

1492
01:25:03,682 --> 01:25:05,642
(Olga chuckles)

1493
01:25:06,977 --> 01:25:09,563
-Are you ready, Maestro?
-(pen clicks)

1494
01:25:09,563 --> 01:25:13,984
-Yes, uh... -Yes,
first shashlik, then veal.

1495
01:25:14,860 --> 01:25:17,446
-For you?
-Cucumber salad.

1496
01:25:17,446 --> 01:25:18,864
-Thank you.
-Good choice.

1497
01:25:22,034 --> 01:25:24,202
Some more bread?

1498
01:25:24,202 --> 01:25:26,038
Hmm.

1499
01:25:31,126 --> 01:25:32,878
It's good.
Would you like a bite?

1500
01:25:32,878 --> 01:25:34,713
Oh, no.

1501
01:25:34,713 --> 01:25:36,465
No. Thank you.

1502
01:25:37,549 --> 01:25:39,384
Have you lived in Berlin long?

1503
01:25:39,384 --> 01:25:41,219
No, not at all.

1504
01:25:41,219 --> 01:25:42,846
I have friends in Wicker I visit

1505
01:25:42,846 --> 01:25:45,349
-until I know decision
of orchestra. -Hmm.

1506
01:25:46,224 --> 01:25:48,143
Simonov will hold your place?

1507
01:25:48,143 --> 01:25:51,104
Yes, I think so.
He is my uncle.

1508
01:25:52,397 --> 01:25:53,899
Oh.

1509
01:25:53,899 --> 01:25:56,610
But my dream has always been
to play with Berlin.

1510
01:25:56,610 --> 01:25:58,695
Oh, me, too.

1511
01:25:58,695 --> 01:26:00,947
There's nowhere like it.

1512
01:26:04,493 --> 01:26:08,163
I imagine, uh, Rostropovich
is a hero of yours.

1513
01:26:09,247 --> 01:26:11,500
Well, of course, he was great.

1514
01:26:11,500 --> 01:26:13,668
We study him
at Moscow Conservatory,

1515
01:26:13,668 --> 01:26:17,881
but growing up, my favorite
is Jacqueline du Pré.

1516
01:26:17,881 --> 01:26:20,550
She made me want to play cello.

1517
01:26:20,550 --> 01:26:21,927
Which record was it?

1518
01:26:21,927 --> 01:26:24,596
Not record. YouTube.

1519
01:26:24,596 --> 01:26:26,515
Elgar Concerto.

1520
01:26:28,350 --> 01:26:29,643
Oh, of course.

1521
01:26:29,643 --> 01:26:32,354
With Barenboim conducting
the London Phil.

1522
01:26:32,354 --> 01:26:35,273
I don't know who was conducting.

1523
01:26:35,273 --> 01:26:38,151
But she did something to me.

1524
01:26:38,151 --> 01:26:40,070
That's when I decide
to learn piece

1525
01:26:40,070 --> 01:26:42,656
and play it
with youth orchestra.

1526
01:26:42,656 --> 01:26:44,699
Quite a challenge.
How old were you?

1527
01:26:44,699 --> 01:26:46,410
Thirteen.

1528
01:26:47,869 --> 01:26:49,538
Wow.

1529
01:26:49,538 --> 01:26:51,415
I'd love to hear it.

1530
01:26:51,415 --> 01:26:54,209
They make video.
I will text to you.

1531
01:26:56,253 --> 01:26:59,673
(ensemble playing Elgar's Cello
Concerto in E minor, Op. 85)

1532
01:27:22,612 --> 01:27:24,781
♪ ♪

1533
01:27:40,672 --> 01:27:42,674
(knocking on door)

1534
01:27:50,682 --> 01:27:52,893
(knocking on door)

1535
01:27:54,895 --> 01:27:56,605
-(pounding on door)
-(music stops)

1536
01:28:01,401 --> 01:28:04,279
My mother's newspaper
delivery...

1537
01:28:04,821 --> 01:28:06,948
... it's missing. Do you have
it?

1538
01:28:07,240 --> 01:28:07,657
No.

1539
01:28:08,658 --> 01:28:09,326
Are you sure?

1540
01:28:10,452 --> 01:28:11,495
No, I'm sorry.

1541
01:28:15,248 --> 01:28:17,542
(quiet high-pitched tone
in distance)

1542
01:28:42,067 --> 01:28:44,444
(high-pitched tone continues)

1543
01:28:54,538 --> 01:28:56,748
(high-pitched tone stops)

1544
01:29:01,002 --> 01:29:03,171
(panting)

1545
01:29:11,263 --> 01:29:13,515
(orchestra playing
classical music)

1546
01:29:43,128 --> 01:29:45,338
(final note fades slowly)

1547
01:30:02,314 --> 01:30:04,107
Beautiful.

1548
01:30:07,444 --> 01:30:10,196
(speaking German)

1549
01:30:13,908 --> 01:30:16,911
Now, um, just before we break,

1550
01:30:16,911 --> 01:30:19,039
I know many of you are wondering

1551
01:30:19,039 --> 01:30:21,916
what the companion piece
will be.

1552
01:30:21,916 --> 01:30:24,544
And I have been
thinking quite a bit about it

1553
01:30:24,544 --> 01:30:26,421
and was wondering
if we could just take

1554
01:30:26,421 --> 01:30:30,008
an informal poll about
possibly pairing the Five

1555
01:30:30,008 --> 01:30:33,053
with Elgar's Cello Concerto.

1556
01:30:34,846 --> 01:30:37,766
(quiet murmuring)

1557
01:30:48,860 --> 01:30:51,112
(bows tapping)

1558
01:30:55,283 --> 01:30:58,078
(speaks German)

1559
01:30:59,120 --> 01:31:03,708
Oh, and, uh, given what
we've all been through,

1560
01:31:03,708 --> 01:31:05,460
what we're still going through,

1561
01:31:05,460 --> 01:31:09,964
and we're finally back
together as a family, I-I...

1562
01:31:11,132 --> 01:31:13,176
... I feel that
maybe the soloist

1563
01:31:13,176 --> 01:31:15,887
should come from
within our own ranks.

1564
01:31:15,887 --> 01:31:17,222
-(excited chatter)
-MAN: Yeah.

1565
01:31:17,222 --> 01:31:18,682
(bows tapping)

1566
01:31:18,682 --> 01:31:20,183
TÁR:
Good. Okay, good.

1567
01:31:20,183 --> 01:31:22,936
Just... Sorry. (chuckles)
One more question.

1568
01:31:22,936 --> 01:31:25,188
And this really is
just for you, Gosia.

1569
01:31:25,188 --> 01:31:26,815
I mean... (sighs)

1570
01:31:26,815 --> 01:31:29,609
... as a practical matter,
I mean, this would

1571
01:31:29,609 --> 01:31:31,736
normally fall to you.

1572
01:31:31,736 --> 01:31:34,489
But given how much is gonna be
asked of you with the Mahler,

1573
01:31:34,489 --> 01:31:36,449
I-I wondered if you'd be
at all bothered

1574
01:31:36,449 --> 01:31:39,119
if we were to hold auditions?

1575
01:31:47,877 --> 01:31:51,464
(chuckling):
Well, that's a bit unorthodox.

1576
01:31:54,259 --> 01:31:57,429
But, in theory,
I have no objection.

1577
01:31:57,429 --> 01:31:59,013
My only hesitation
will depend on

1578
01:31:59,013 --> 01:32:00,557
when these auditions
might take place.

1579
01:32:00,557 --> 01:32:02,100
I wouldn't want them in any way

1580
01:32:02,100 --> 01:32:03,393
to interfere with
our sectionals.

1581
01:32:03,393 --> 01:32:05,270
No, no, no.
That's a good point.

1582
01:32:05,270 --> 01:32:06,938
I mean, it is gonna
have to be a... (laughs)

1583
01:32:06,938 --> 01:32:08,481
It's gonna have to be a sprint.

1584
01:32:08,481 --> 01:32:10,066
Um...

1585
01:32:11,526 --> 01:32:13,445
How about Monday?

1586
01:32:17,365 --> 01:32:19,075
All right.

1587
01:32:22,245 --> 01:32:23,621
TÁR:
Okay, good.

1588
01:32:23,621 --> 01:32:26,875
Knut, would you assemble
a quorum for Monday?

1589
01:32:26,875 --> 01:32:28,251
(speaks quietly)

1590
01:32:28,543 --> 01:32:29,961
And remember,

1591
01:32:29,961 --> 01:32:32,547
All section members are invited.

1592
01:32:32,547 --> 01:32:35,341
(quiet murmuring)

1593
01:32:41,514 --> 01:32:43,975
WOMAN:
Let me see what she says.

1594
01:32:43,975 --> 01:32:45,810
Okay, I got, I gotta go.

1595
01:32:47,061 --> 01:32:48,813
Britta, hi.

1596
01:32:48,813 --> 01:32:49,981
Lydia.

1597
01:32:49,981 --> 01:32:51,691
-Just caught the end.
-Ah!

1598
01:32:51,691 --> 01:32:53,735
What'd you think? How's it, uh,
how's it sounding?

1599
01:32:53,735 --> 01:32:56,070
Oh, it's fantastic.

1600
01:32:56,070 --> 01:32:58,323
I can't wait
until the live recording.

1601
01:32:58,323 --> 01:33:00,158
-Yes, well.
-(kissing)

1602
01:33:00,158 --> 01:33:02,619
I'll be happy when it's over.

1603
01:33:02,619 --> 01:33:04,412
It's always that way.

1604
01:33:04,412 --> 01:33:07,749
I know you're busy, and I don't
want to add to your load,

1605
01:33:07,749 --> 01:33:09,876
but...

1606
01:33:09,876 --> 01:33:12,045
Andris Davis called.

1607
01:33:12,045 --> 01:33:15,256
Look, he's upset
I'm rotating Sebastian.

1608
01:33:15,256 --> 01:33:16,633
No, no, no, no, no.

1609
01:33:16,633 --> 01:33:17,967
Something else.

1610
01:33:17,967 --> 01:33:19,427
But you will please
let Laura know

1611
01:33:19,427 --> 01:33:20,720
as soon as you have chosen
his replacement

1612
01:33:20,720 --> 01:33:22,096
so she can prepare
a press release.

1613
01:33:22,096 --> 01:33:23,515
Yeah, of course.

1614
01:33:23,515 --> 01:33:25,433
Uh, so what did he want?

1615
01:33:25,433 --> 01:33:27,685
To complain about
the punctuality of a driver

1616
01:33:27,685 --> 01:33:30,688
he seems to believe
the board supplies him with.

1617
01:33:30,688 --> 01:33:32,774
Do you know anything about this?

1618
01:33:32,774 --> 01:33:34,150
Yes.

1619
01:33:34,150 --> 01:33:37,320
No, it's just... it's just
something I pay for.

1620
01:33:37,320 --> 01:33:39,989
Then why does he believe
it's the board?

1621
01:33:39,989 --> 01:33:43,284
Because he needs
to believe that.

1622
01:33:43,284 --> 01:33:45,119
H-He needs to b...

1623
01:33:45,119 --> 01:33:47,622
needs to believe he hasn't
been forgotten, Britta.

1624
01:33:47,622 --> 01:33:50,458
Uh, the academy
has von Karajan's name on it,

1625
01:33:50,458 --> 01:33:53,002
and there are love shrines
to Abbado all over this place.

1626
01:33:53,002 --> 01:33:57,382
But the name of Davis, it's
essentially nowhere to be seen.

1627
01:33:57,382 --> 01:33:59,008
All right.

1628
01:33:59,008 --> 01:34:02,554
Then perhaps Francesca could
have a word with the driver.

1629
01:34:02,554 --> 01:34:04,889
Of course.

1630
01:34:04,889 --> 01:34:06,891
One other thing.

1631
01:34:06,891 --> 01:34:08,726
It's unpleasant.

1632
01:34:08,726 --> 01:34:10,103
Oh, is it?

1633
01:34:10,103 --> 01:34:12,146
Operational shortfall?

1634
01:34:12,146 --> 01:34:14,649
Must I take Mrs. Sewing
out to drinks again?

1635
01:34:14,649 --> 01:34:16,651
No, no, no, nothing to do
with the orchestra.

1636
01:34:16,651 --> 01:34:19,070
Do you remember
an Accordion Academy fellow

1637
01:34:19,070 --> 01:34:21,573
named Krista Taylor?

1638
01:34:24,659 --> 01:34:26,786
Yes. Why?

1639
01:34:26,786 --> 01:34:29,330
Apparently,
she committed suicide.

1640
01:34:29,330 --> 01:34:32,584
Oh, God. Poor thing.

1641
01:34:32,584 --> 01:34:34,669
Her parents mu...

1642
01:34:35,587 --> 01:34:38,298
Wait, sorry,
I'm... I'm confused, Britta.

1643
01:34:38,298 --> 01:34:40,425
Why, why were you put
in the position

1644
01:34:40,425 --> 01:34:41,801
to deliver this terrible news?

1645
01:34:41,801 --> 01:34:44,053
Why didn't Accordion
contact me directly?

1646
01:34:44,053 --> 01:34:45,972
It's delicate, Lydia.

1647
01:34:45,972 --> 01:34:47,515
Mr. Kaplan thought
it might be best

1648
01:34:47,515 --> 01:34:48,933
if you contacted a lawyer

1649
01:34:48,933 --> 01:34:51,603
before speaking with anyone
at Accordion.

1650
01:34:51,603 --> 01:34:54,898
Well, presumably, that anyone
includes Eliot himself.

1651
01:34:56,900 --> 01:35:00,445
I'm, I'm sorry, why-why
would I need to do that?

1652
01:35:00,445 --> 01:35:04,699
Apparently, some accusations
have been made.

1653
01:35:06,492 --> 01:35:08,411
Accusations?
What kind of accusations?

1654
01:35:08,411 --> 01:35:10,038
He didn't say.

1655
01:35:10,038 --> 01:35:12,540
But they were brought
to Accordion's counsel.

1656
01:35:12,540 --> 01:35:15,501
Mr. Kaplan said he's certain
nothing will come of it,

1657
01:35:15,501 --> 01:35:18,129
but one can't be too careful.

1658
01:35:25,303 --> 01:35:27,639
(sighs heavily)

1659
01:35:32,644 --> 01:35:34,228
(sniffs)

1660
01:35:36,648 --> 01:35:39,192
I'm sorry about the hour.
It's Lydia Tár calling.

1661
01:35:39,192 --> 01:35:42,487
I need to speak to Mr. Singer
immediately.

1662
01:35:42,487 --> 01:35:43,988
Yes.

1663
01:35:43,988 --> 01:35:45,823
Yes, it's urgent.

1664
01:36:09,806 --> 01:36:12,016
(low, quiet conversations)

1665
01:36:14,852 --> 01:36:16,771
Tired?

1666
01:36:19,941 --> 01:36:22,443
Sleep's elusive.

1667
01:36:23,403 --> 01:36:25,822
I was the same
before a recording date.

1668
01:36:27,615 --> 01:36:29,450
Lydia...

1669
01:36:29,450 --> 01:36:33,246
are-are you absolutely
certain about Sebastian?

1670
01:36:33,246 --> 01:36:35,540
TÁR:
Mm-hmm.

1671
01:36:35,540 --> 01:36:38,334
Who will you replace him with?

1672
01:36:38,334 --> 01:36:40,795
Possibly Andrew Crust.

1673
01:36:41,671 --> 01:36:44,966
He's been assisting
Otto Tausk at the VSO.

1674
01:36:44,966 --> 01:36:47,427
Not the girl?

1675
01:36:52,682 --> 01:36:54,851
(Tár sighs)

1676
01:36:56,060 --> 01:36:58,312
Andris...

1677
01:37:01,399 --> 01:37:04,402
... have you ever had an issue

1678
01:37:04,402 --> 01:37:07,071
with a, a student or colleague,

1679
01:37:07,071 --> 01:37:09,282
where that person may have
misinterpreted your intention?

1680
01:37:09,282 --> 01:37:10,908
Has someone been complaining
about me?

1681
01:37:10,908 --> 01:37:12,869
-No, no, no, of course not.
-Because at this point,

1682
01:37:12,869 --> 01:37:14,454
they've missed their chance.

1683
01:37:14,454 --> 01:37:16,622
-I'm out of the game.
-Yes, yes, I know, I know.

1684
01:37:16,622 --> 01:37:17,999
Course you are.

1685
01:37:17,999 --> 01:37:20,043
Thank God I was never pulled
from the podium

1686
01:37:20,043 --> 01:37:22,045
like Jimmy Levine.

1687
01:37:22,045 --> 01:37:25,757
Or-or hunted
like Charles Dutoit.

1688
01:37:25,757 --> 01:37:28,426
I take it you're asking
for a reason.

1689
01:37:28,426 --> 01:37:31,345
Well, there's just been
so much of this sort of thing

1690
01:37:31,345 --> 01:37:32,972
in the news lately.

1691
01:37:32,972 --> 01:37:36,476
Well, nowadays, to be accused
is the same as being guilty.

1692
01:37:37,393 --> 01:37:38,936
But I suppose
that was also the case

1693
01:37:38,936 --> 01:37:42,148
all those years ago
with Furtwängler.

1694
01:37:42,148 --> 01:37:45,193
A bit with Karajan, too.

1695
01:37:47,862 --> 01:37:50,656
Who was the better conductor?

1696
01:37:51,491 --> 01:37:53,951
I never played
under Furtwängler.

1697
01:37:53,951 --> 01:37:56,496
Yeah, when I first arrived here,
the older members

1698
01:37:56,496 --> 01:37:59,749
had, uh, hmm, hushed opinions.

1699
01:37:59,749 --> 01:38:03,211
At the same time, they wanted
to leave that era behind.

1700
01:38:03,211 --> 01:38:04,670
What, the war?

1701
01:38:04,670 --> 01:38:06,047
-No, postwar.
-Ah.

1702
01:38:06,047 --> 01:38:08,132
Denazification.

1703
01:38:08,132 --> 01:38:09,842
Someone pointed a finger at you,

1704
01:38:09,842 --> 01:38:11,969
process started all over again.

1705
01:38:11,969 --> 01:38:14,639
Furtwängler never joined
the Party.

1706
01:38:14,639 --> 01:38:16,057
Refused to give the salute

1707
01:38:16,057 --> 01:38:18,226
or to conduct the
"Horst-Wessel-Lied."

1708
01:38:18,226 --> 01:38:21,104
Or to sign his letters,
"Heil, Hitler."

1709
01:38:21,104 --> 01:38:24,148
Even those he wrote to Hitler.

1710
01:38:24,148 --> 01:38:28,861
But he was obliged
to be denazified.

1711
01:38:28,861 --> 01:38:31,656
Until then, he was semiretired,

1712
01:38:31,656 --> 01:38:34,200
playing corpses.

1713
01:38:35,076 --> 01:38:37,203
Playing corpses?

1714
01:38:37,203 --> 01:38:40,581
Secretly performing
in a graveyard.

1715
01:38:42,041 --> 01:38:44,460
You're not equating
sexual impropriety

1716
01:38:44,460 --> 01:38:46,712
with being an accused Nazi?

1717
01:38:47,588 --> 01:38:49,298
Either way, you had to be ready.

1718
01:38:49,298 --> 01:38:52,051
For years, I made sure
all the hangers in my closet

1719
01:38:52,051 --> 01:38:54,262
were facing the same direction.

1720
01:39:04,772 --> 01:39:07,817
How many are auditioning
on Monday?

1721
01:39:12,113 --> 01:39:13,656
No one.

1722
01:39:14,490 --> 01:39:16,159
No one?

1723
01:39:17,702 --> 01:39:20,246
Maybe Martin.

1724
01:39:20,246 --> 01:39:22,081
He's never gotten along
with Gosia.

1725
01:39:22,081 --> 01:39:24,792
He would love to sit downstage
for once.

1726
01:39:26,335 --> 01:39:28,880
Well...

1727
01:39:28,880 --> 01:39:31,174
he's still gonna
have to audition.

1728
01:39:32,967 --> 01:39:34,927
Of course.

1729
01:39:34,927 --> 01:39:37,138
Have to follow the rules.

1730
01:39:38,890 --> 01:39:41,475
TÁR: Aren't we being
a bit formal, Francesca?

1731
01:39:41,475 --> 01:39:44,103
From what I understand,
there's only one player, right?

1732
01:39:44,103 --> 01:39:47,023
FRANCESCA:
No, Maestro, there are two.

1733
01:39:48,399 --> 01:39:51,861
(cello and piano playing
dramatic classical music)

1734
01:40:09,962 --> 01:40:13,257
(cello playing Elgar's Cello
Concerto in E minor, Op. 85)

1735
01:40:42,536 --> 01:40:44,997
(cello holding final note)

1736
01:40:49,377 --> 01:40:51,379
SHARON:
Well, it's unanimous.

1737
01:40:51,379 --> 01:40:54,048
-Number two.
-TÁR: Mm-hmm.

1738
01:40:54,048 --> 01:40:55,424
And we have a problem.

1739
01:40:55,424 --> 01:40:56,801
She's not officially
been invited

1740
01:40:56,801 --> 01:40:58,970
to become a member
of the orchestra.

1741
01:41:00,137 --> 01:41:03,766
Well, she wouldn't need to be
to solo for us.

1742
01:41:03,766 --> 01:41:05,851
KNUT: I believe the criteria
of the audition

1743
01:41:05,851 --> 01:41:08,312
was all section members?

1744
01:41:08,312 --> 01:41:10,898
-(grunts) Then her audition
gets thrown out. -SHARON: No.

1745
01:41:10,898 --> 01:41:13,359
Francesca, please ask Martin
to come back in

1746
01:41:13,359 --> 01:41:15,611
so we can give him the news.

1747
01:41:15,611 --> 01:41:17,780
Wait. Gosia, let's talk.

1748
01:41:20,116 --> 01:41:22,576
Shit! (laughing)

1749
01:41:22,576 --> 01:41:23,911
(whooping loudly)

1750
01:41:23,911 --> 01:41:26,247
Yeah! (continues laughing
and whooping)

1751
01:41:27,665 --> 01:41:31,210
I'll confirm solo rehearsal
dates with her.

1752
01:41:31,210 --> 01:41:33,129
Thank you.

1753
01:41:33,129 --> 01:41:35,256
Have a seat.

1754
01:41:39,510 --> 01:41:41,595
(sighs):
I have made a decision

1755
01:41:41,595 --> 01:41:44,307
regarding Sebastian's
replacement.

1756
01:41:45,474 --> 01:41:49,145
And I want you to know
it wasn't an easy one.

1757
01:41:50,521 --> 01:41:55,109
Uh, this position brings with it
enormous responsibility,

1758
01:41:55,109 --> 01:41:58,446
-and my personal affection
for you aside... -(scoffs)

1759
01:41:58,446 --> 01:42:03,409
... I will have to go with
someone more, more experienced.

1760
01:42:18,466 --> 01:42:20,718
(quiet high-pitched tone)

1761
01:42:26,140 --> 01:42:27,808
(tone stops)

1762
01:42:43,657 --> 01:42:45,910
(playing simple melody)

1763
01:42:53,834 --> 01:42:56,087
(bell chiming in distance)

1764
01:43:00,091 --> 01:43:03,177
-(knocking on door)
-(plays note)

1765
01:43:03,177 --> 01:43:05,221
Oh, leave me alone.

1766
01:43:05,221 --> 01:43:07,598
I don't have your paper.

1767
01:43:08,432 --> 01:43:10,434
I've told you before, I...

1768
01:43:10,434 --> 01:43:12,645
Oh, I'm sorry. Please come in.

1769
01:43:17,441 --> 01:43:18,943
(sighs)

1770
01:43:18,943 --> 01:43:21,237
(playing gentle melody)

1771
01:43:58,524 --> 01:43:59,984
Good. Good.

1772
01:43:59,984 --> 01:44:03,070
I-I think the contrast is,
it's much better now.

1773
01:44:03,070 --> 01:44:04,655
-Don't you think?
-Hmm.

1774
01:44:04,655 --> 01:44:06,574
(sighs)
How do you take your coffee?

1775
01:44:06,574 --> 01:44:08,784
Black. Strong.

1776
01:44:10,411 --> 01:44:12,246
Is all right if I play?

1777
01:44:12,246 --> 01:44:14,915
Hmm? Oh, yes,
of course, of course.

1778
01:44:24,842 --> 01:44:27,094
(playing gentle melody)

1779
01:45:03,297 --> 01:45:05,799
That's as far as I've gotten.

1780
01:45:05,799 --> 01:45:07,885
But it's good.

1781
01:45:07,885 --> 01:45:10,554
Um, this part here.

1782
01:45:14,350 --> 01:45:16,727
Maybe change A to B-flat?

1783
01:45:20,397 --> 01:45:22,942
That's better.
I like that sound.

1784
01:45:24,568 --> 01:45:26,904
Come on. Take a break.

1785
01:45:26,904 --> 01:45:28,948
Okay. (chuckles)

1786
01:45:29,740 --> 01:45:31,575
(door closes)

1787
01:45:41,335 --> 01:45:42,836
TÁR:
Sharon?

1788
01:45:46,131 --> 01:45:47,967
Hello.

1789
01:45:49,635 --> 01:45:52,054
Sharon is out with her sister.

1790
01:45:52,930 --> 01:45:54,765
From the way they were
whispering

1791
01:45:55,015 --> 01:45:57,768
I'd say that they're up to no
good.

1792
01:45:58,018 --> 01:45:59,937
The child is in its room.

1793
01:46:03,607 --> 01:46:05,526
Petra.

1794
01:46:17,705 --> 01:46:19,915
(Petra humming rhythmically)

1795
01:46:24,044 --> 01:46:26,338
(rhythmic humming continues)

1796
01:46:28,716 --> 01:46:30,301
(humming)

1797
01:46:31,302 --> 01:46:33,220
What are you doing in here?

1798
01:46:33,220 --> 01:46:36,307
(whispering):
I'm hiding from her.

1799
01:46:36,307 --> 01:46:37,808
(whispers):
Why?

1800
01:46:37,808 --> 01:46:40,936
Because she told me
to put my things in order,

1801
01:46:40,936 --> 01:46:43,856
but they already are.

1802
01:46:46,650 --> 01:46:48,902
I can see that.

1803
01:46:49,820 --> 01:46:51,071
Come on.

1804
01:46:51,071 --> 01:46:53,240
They're all waiting for you.

1805
01:46:53,240 --> 01:46:56,577
PETRA: I'm going to give
everyone a pencil.

1806
01:46:56,577 --> 01:46:57,911
TÁR:
All of them?

1807
01:46:57,911 --> 01:46:59,413
They can't all conduct, honey.

1808
01:46:59,413 --> 01:47:03,125
(chuckles): It's not a,
it's not a democracy.

1809
01:47:04,835 --> 01:47:07,004
♪ ♪

1810
01:47:08,756 --> 01:47:10,883
(orchestra joins)

1811
01:47:15,846 --> 01:47:18,015
♪ ♪

1812
01:47:44,291 --> 01:47:46,460
♪ ♪

1813
01:48:02,351 --> 01:48:03,769
(Tár sighs)

1814
01:48:06,730 --> 01:48:08,607
(speaking German)

1815
01:48:08,607 --> 01:48:10,359
Okay, uh...

1816
01:48:10,359 --> 01:48:12,611
(speaking German)

1817
01:48:14,947 --> 01:48:16,490
(speaks German)

1818
01:48:16,490 --> 01:48:19,243
-Hey, that's good.
-Yeah. Good.

1819
01:48:19,243 --> 01:48:20,536
-You happy?
-(laughs softly)

1820
01:48:20,536 --> 01:48:22,788
(Tár speaking quietly)

1821
01:48:23,997 --> 01:48:26,917
How long were you acquainted
with Miss Taylor?

1822
01:48:26,917 --> 01:48:31,130
Oh, I'd have to double-check
with my assistant,

1823
01:48:31,130 --> 01:48:33,966
but cumulatively speaking,
I'd say

1824
01:48:33,966 --> 01:48:36,552
-not more than a few months.
-Hmm.

1825
01:48:36,552 --> 01:48:39,263
-Thank you for your time,
Maestro. -Not at all.

1826
01:48:40,389 --> 01:48:42,683
-This recording will exist on
a protected server... -Mm-hmm.

1827
01:48:42,683 --> 01:48:45,102
... under attorney-client
privilege with Mr. Singer.

1828
01:48:45,102 --> 01:48:46,770
-Great.
-He will follow up with you

1829
01:48:46,770 --> 01:48:48,605
to help prepare
for the deposition.

1830
01:48:51,900 --> 01:48:53,819
Deposition?

1831
01:48:53,819 --> 01:48:55,404
Yes.

1832
01:48:55,404 --> 01:48:57,364
I assumed you were aware.

1833
01:48:57,364 --> 01:48:59,450
Mr. Singer's office said
they'd been coordinating

1834
01:48:59,450 --> 01:49:01,577
with your assistant.

1835
01:49:01,577 --> 01:49:03,996
Francesca, you'd better get
your pretty little ass to work

1836
01:49:03,996 --> 01:49:05,706
right now.

1837
01:49:05,706 --> 01:49:07,291
(man and woman speaking German)

1838
01:49:07,291 --> 01:49:09,209
The only communication
we've received from Francesca

1839
01:49:09,209 --> 01:49:11,503
was an email to my assistant
in the middle of the night

1840
01:49:11,503 --> 01:49:13,088
tendering her immediate
resignation,

1841
01:49:13,088 --> 01:49:14,715
stating she would be in contact

1842
01:49:14,715 --> 01:49:17,134
when she had more details
to provide.

1843
01:49:17,134 --> 01:49:18,802
What kind of details?

1844
01:49:18,802 --> 01:49:20,429
A new address, I suppose.

1845
01:49:20,429 --> 01:49:22,639
In the meantime,
we've been trying all morning

1846
01:49:22,639 --> 01:49:24,349
to find someone suitable
to assist you

1847
01:49:24,349 --> 01:49:25,726
on a temporary basis.

1848
01:49:25,726 --> 01:49:27,561
For now, perhaps
your new assistant conductor

1849
01:49:27,561 --> 01:49:29,146
would be the right fit.

1850
01:49:29,146 --> 01:49:31,690
No. No. He's not available
'til after the live Five date.

1851
01:49:31,690 --> 01:49:33,692
Yes, I'm ready. Let's go.

1852
01:49:37,863 --> 01:49:39,740
I know how much
you depended on her.

1853
01:49:39,740 --> 01:49:41,200
TÁR:
Two-faced little bitch.

1854
01:49:41,200 --> 01:49:42,743
Imagine her hurt, Tár.

1855
01:49:42,743 --> 01:49:45,245
-Don't you dare try to
defend her. -God, slow down!

1856
01:49:45,245 --> 01:49:46,914
She'll come galumphing back.

1857
01:49:46,914 --> 01:49:48,957
-I mean, I've got a dumb phone
like every robot. -Tár, s...

1858
01:49:48,957 --> 01:49:51,251
-How hard can it be to text
all day? -(horn blaring)

1859
01:49:51,251 --> 01:49:53,837
-(screams) Slow down!
-(tires screech, horn honks)

1860
01:49:53,837 --> 01:49:56,131
Or let me out!

1861
01:50:05,224 --> 01:50:07,434
(seat belt unfastens)

1862
01:50:13,607 --> 01:50:15,818
(child chattering)

1863
01:50:16,985 --> 01:50:19,279
-Francesca!
-(pounds on door)

1864
01:50:52,229 --> 01:50:54,857
-WOMAN: Fräulein?
-(keys jingling)

1865
01:50:55,107 --> 01:50:56,441
You're trespassing.

1866
01:51:00,654 --> 01:51:02,865
(keys jingling)

1867
01:51:06,535 --> 01:51:08,662
(low, indistinct whispering)

1868
01:51:09,663 --> 01:51:13,041
(indistinct whispering
continues)

1869
01:51:20,007 --> 01:51:22,134
(insects trilling)

1870
01:51:32,436 --> 01:51:33,979
-(banging on door)
-(gasps)

1871
01:51:33,979 --> 01:51:36,231
(bell chiming in distance)

1872
01:51:38,775 --> 01:51:42,029
(frantically speaking German)

1873
01:51:43,196 --> 01:51:44,531
Quickly!

1874
01:51:44,531 --> 01:51:45,908
Come.

1875
01:51:45,908 --> 01:51:48,118
(chiming continues)

1876
01:51:57,210 --> 01:51:59,463
(woman whimpering quietly)

1877
01:52:04,801 --> 01:52:07,012
(chiming continues)

1878
01:52:08,889 --> 01:52:11,141
(woman continues whimpering)

1879
01:52:13,101 --> 01:52:14,603
We must transfer her.

1880
01:52:16,730 --> 01:52:18,398
We must transfer her.

1881
01:52:19,775 --> 01:52:21,693
... it's going to be alright,
Fräulein.

1882
01:52:21,693 --> 01:52:22,694
Not the hand!

1883
01:52:22,694 --> 01:52:23,862
Use the strap!

1884
01:52:24,613 --> 01:52:26,573
(woman whimpering)

1885
01:52:26,573 --> 01:52:28,825
(chiming continues)

1886
01:52:31,787 --> 01:52:33,497
(Tár grunts)

1887
01:52:36,500 --> 01:52:38,293
(shushing)

1888
01:52:38,293 --> 01:52:39,836
(Tár grunts)

1889
01:52:39,836 --> 01:52:42,506
(chiming continues)

1890
01:52:42,506 --> 01:52:44,591
(speaking German)

1891
01:52:45,759 --> 01:52:48,512
(shushing)

1892
01:52:48,512 --> 01:52:50,013
(chiming stops)

1893
01:52:50,013 --> 01:52:51,390
(door closes)

1894
01:52:51,390 --> 01:52:54,559
(gasping)

1895
01:52:54,559 --> 01:52:56,770
(water running)

1896
01:53:07,948 --> 01:53:10,117
(knocking on door)

1897
01:53:10,117 --> 01:53:12,411
(turns off water)

1898
01:53:14,287 --> 01:53:16,206
(knocking continues)

1899
01:53:18,333 --> 01:53:19,835
(sighs)

1900
01:53:20,836 --> 01:53:21,962
(door opens)

1901
01:53:21,962 --> 01:53:23,714
OLGA:
Sorry I'm late again.

1902
01:53:23,714 --> 01:53:25,966
TÁR:
Oh.

1903
01:53:25,966 --> 01:53:28,176
(door closes)

1904
01:53:30,387 --> 01:53:33,223
D-Do you live here?

1905
01:53:33,223 --> 01:53:35,600
Not normally, no.

1906
01:53:35,600 --> 01:53:37,227
Uh, make yourself at home.

1907
01:53:37,227 --> 01:53:38,562
I'm just gonna put something on.

1908
01:53:38,562 --> 01:53:40,063
Do you have a towel?

1909
01:53:42,274 --> 01:53:44,651
-(quietly): Yes.
-Thank you.

1910
01:53:49,698 --> 01:53:52,576
I got caught in the rain.

1911
01:53:58,373 --> 01:54:01,376
(both chuckling)

1912
01:54:03,754 --> 01:54:06,256
There is small concert
with musician friends.

1913
01:54:06,256 --> 01:54:07,674
You should come.

1914
01:54:08,759 --> 01:54:12,429
TÁR: Thanks, but I-I...
really must get home. (sighs)

1915
01:54:12,429 --> 01:54:15,432
-You have child, yes?
-Mm-hmm.

1916
01:54:15,432 --> 01:54:17,267
I will not do that.

1917
01:54:19,519 --> 01:54:21,438
Pets are better for some people.

1918
01:54:24,274 --> 01:54:26,943
-Oh. (laughs)
-(laughs)

1919
01:54:34,284 --> 01:54:35,535
What... Oh.

1920
01:54:35,535 --> 01:54:36,870
-Sorry.
-Bye.

1921
01:54:36,870 --> 01:54:38,205
-(laughs)
-Oh, yes. Goodbye. Yes.

1922
01:54:38,205 --> 01:54:39,581
-Goodbye.
-Okay.

1923
01:54:39,581 --> 01:54:41,541
-Oh.
-(chuckles) Okay.

1924
01:54:48,381 --> 01:54:50,175
Oh, Olga!

1925
01:54:50,175 --> 01:54:51,384
Olga!

1926
01:54:59,309 --> 01:55:01,144
Olga?

1927
01:55:03,188 --> 01:55:05,482
(woman singing in
foreign language in distance)

1928
01:55:07,818 --> 01:55:09,903
Olga?

1929
01:55:38,181 --> 01:55:39,891
Hello?

1930
01:55:50,360 --> 01:55:51,778
(water dripping)

1931
01:55:51,778 --> 01:55:53,488
Olga?

1932
01:55:55,490 --> 01:55:57,492
(door closes in distance)

1933
01:56:12,132 --> 01:56:13,717
Olga?

1934
01:56:15,051 --> 01:56:17,262
(light footsteps running)

1935
01:56:22,851 --> 01:56:24,394
Olga?

1936
01:56:24,394 --> 01:56:26,605
(light footsteps running)

1937
01:56:30,901 --> 01:56:32,986
(light footsteps running)

1938
01:56:35,197 --> 01:56:38,074
(growling)

1939
01:56:49,169 --> 01:56:51,338
(panting softly)

1940
01:56:56,551 --> 01:56:59,095
(panting)

1941
01:56:59,930 --> 01:57:01,431
-(gasps)
-(sharp thud)

1942
01:57:08,271 --> 01:57:09,940
(Sharon gasps)

1943
01:57:11,691 --> 01:57:13,777
Why didn't you go to the police?

1944
01:57:13,777 --> 01:57:16,863
I fought. He ran.
What's to tell?

1945
01:57:20,367 --> 01:57:21,660
Oh, God.

1946
01:57:21,660 --> 01:57:22,869
I'm gonna get you something
for the pain.

1947
01:57:22,869 --> 01:57:23,870
No, I don't need anything.

1948
01:57:23,870 --> 01:57:26,248
No, I'm gonna get you something.

1949
01:57:26,248 --> 01:57:27,916
(sighs)

1950
01:57:30,418 --> 01:57:32,295
Was someone mean to you?

1951
01:57:32,295 --> 01:57:33,880
Ja.

1952
01:57:35,340 --> 01:57:38,677
You're the most beautiful person
I know.

1953
01:57:42,347 --> 01:57:44,015
(sighs)

1954
01:57:49,271 --> 01:57:51,856
PETRA (in distance):
Lydia!

1955
01:57:54,317 --> 01:57:55,402
Lydia!

1956
01:57:55,402 --> 01:57:56,736
(gasps)

1957
01:57:56,736 --> 01:57:59,447
(breathing heavily)

1958
01:58:01,283 --> 01:58:03,118
What is it?

1959
01:58:05,328 --> 01:58:07,330
Hold my foot.

1960
01:58:15,588 --> 01:58:17,257
Is that better?

1961
01:58:17,257 --> 01:58:18,758
Yes.

1962
01:58:24,055 --> 01:58:26,266
(Petra whimpering)

1963
01:58:31,396 --> 01:58:33,857
(instruments warming up)

1964
01:58:52,042 --> 01:58:54,044
-(instruments stop)
-(quiet murmuring)

1965
01:58:56,421 --> 01:58:57,839
Give me some eyes.

1966
01:59:00,008 --> 01:59:01,885
Okay.

1967
01:59:01,885 --> 01:59:04,012
Let's, uh, shoo the elephant
from the room.

1968
01:59:05,680 --> 01:59:08,391
"What the hell happened
to her face?"

1969
01:59:08,391 --> 01:59:10,894
"Did she, uh, schedule
a nose and eye job

1970
01:59:10,894 --> 01:59:13,521
and bail before the surgeon
finished the other half?"

1971
01:59:13,521 --> 01:59:14,814
(quiet chuckling)

1972
01:59:18,651 --> 01:59:20,737
No.

1973
01:59:20,737 --> 01:59:22,405
I was, uh, I was attacked.

1974
01:59:22,405 --> 01:59:24,783
Thank you.

1975
01:59:24,783 --> 01:59:26,826
I'm fine. Really.

1976
01:59:26,826 --> 01:59:28,745
-Should've seen the other guy.
-(quiet laughter)

1977
01:59:28,745 --> 01:59:29,746
All right.

1978
01:59:29,746 --> 01:59:31,915
(speaking German)

1979
01:59:35,668 --> 01:59:36,920
(coughs)

1980
01:59:38,004 --> 01:59:39,506
(exhales sharply)

1981
01:59:41,049 --> 01:59:44,052
(orchestra begins playing
light classical music)

1982
01:59:59,859 --> 02:00:01,653
-(grunts)
-(orchestra plays deep note)

1983
02:00:03,113 --> 02:00:04,322
(grunts fiercely)

1984
02:00:04,322 --> 02:00:06,950
(orchestra playing
dramatic music)

1985
02:00:14,958 --> 02:00:16,543
(gasps) Don't.

1986
02:00:16,543 --> 02:00:18,336
It burns.

1987
02:00:18,336 --> 02:00:20,547
You must see the doctor.

1988
02:00:20,547 --> 02:00:22,382
He's booked 'til next week.

1989
02:00:22,382 --> 02:00:23,675
(scoffs) I'll call them again

1990
02:00:23,675 --> 02:00:25,260
and tell them how much pain
you're in.

1991
02:00:25,260 --> 02:00:27,804
No, no, let's just,
let's just finish up here.

1992
02:00:27,804 --> 02:00:29,389
Okay?

1993
02:00:29,389 --> 02:00:31,516
Overall, the balance
feels right.

1994
02:00:31,516 --> 02:00:32,934
Other than a quick brushup,

1995
02:00:32,934 --> 02:00:35,395
we should concentrate
on the Elgar.

1996
02:00:35,395 --> 02:00:38,189
You're certain of that?

1997
02:00:38,189 --> 02:00:40,567
I think so. Yes.

1998
02:00:40,567 --> 02:00:42,444
TÁR: We're absolutely
rock-solid there,

1999
02:00:42,444 --> 02:00:47,323
but I am going to try
to hold them back here.

2000
02:00:47,323 --> 02:00:49,284
Uh, they're just
getting caught up in the power

2001
02:00:49,284 --> 02:00:53,121
of your, uh, glissando
in there, trying to match it.

2002
02:00:53,121 --> 02:00:56,207
Um, probably...

2003
02:00:56,207 --> 02:00:58,751
Where were you attacked,
Maestro?

2004
02:00:58,751 --> 02:01:01,838
Oh, doesn't matter.

2005
02:01:01,838 --> 02:01:03,590
(chuckles) Here.

2006
02:01:03,590 --> 02:01:06,676
(chuckles) Thank you.

2007
02:01:06,676 --> 02:01:08,344
There you are.

2008
02:01:09,220 --> 02:01:11,639
-When did this fall happen?
-Uh, it's all a blur.

2009
02:01:11,639 --> 02:01:14,350
Three, four days ago.

2010
02:01:14,350 --> 02:01:15,935
It's just my shoulder. Yeah.

2011
02:01:15,935 --> 02:01:19,522
It kind of burns,
like I fell asleep by the pool.

2012
02:01:20,690 --> 02:01:23,860
Okay, you can
put your shirt back on.

2013
02:01:23,860 --> 02:01:25,361
You've damaged some nerves.

2014
02:01:25,361 --> 02:01:26,779
The burning sensation
you're feeling

2015
02:01:26,779 --> 02:01:28,448
is called notalgia paresthetica.

2016
02:01:28,448 --> 02:01:29,741
Nostalgia?

2017
02:01:29,741 --> 02:01:32,076
"Notalgia." No "S."

2018
02:01:32,076 --> 02:01:34,537
-Well, how do we treat it?
-You don't.

2019
02:01:34,537 --> 02:01:36,039
Eventually, it goes away.

2020
02:01:36,039 --> 02:01:39,334
An adjustment might help.
You're somewhat crooked.

2021
02:01:40,460 --> 02:01:41,878
(chuckles)

2022
02:01:44,797 --> 02:01:46,966
(piano playing gentle melody)

2023
02:01:56,976 --> 02:01:59,187
(music stops)

2024
02:02:15,203 --> 02:02:17,372
(phone chimes)

2025
02:02:27,674 --> 02:02:29,717
TÁR (over video):
Oh, well, then you must be

2026
02:02:29,717 --> 02:02:33,221
a Negro product
exploited by the Jews.

2027
02:02:34,514 --> 02:02:37,600
Now let's turn our gaze back
to the piano bench up there

2028
02:02:37,600 --> 02:02:39,811
to a superhot young woman.

2029
02:02:40,937 --> 02:02:42,939
That's-that's...
th-that was very good.

2030
02:02:42,939 --> 02:02:45,108
Now, you could masturbate,

2031
02:02:45,108 --> 02:02:48,945
but what are you
actually doing to me?

2032
02:02:49,737 --> 02:02:51,948
(phone chiming)

2033
02:02:54,534 --> 02:02:56,035
-Britta.
-BRITTA: Hi, hi.

2034
02:02:56,035 --> 02:02:58,997
-Have you seen it?
-Yes, yes. I've just seen it.

2035
02:02:58,997 --> 02:03:02,041
... gathering this afternoon.

2036
02:03:02,041 --> 02:03:04,127
-This afternoon?
-Is that a problem?

2037
02:03:04,127 --> 02:03:06,337
No, just...
No, it's no problem.

2038
02:03:09,173 --> 02:03:11,050
(sighs)

2039
02:03:39,746 --> 02:03:45,418
First of all, that class was
conducted in a tech-free zone.

2040
02:03:45,418 --> 02:03:49,339
And second,
whoever violated that rule

2041
02:03:49,339 --> 02:03:52,592
edited what we've all seen
to create linguistic traps

2042
02:03:52,592 --> 02:03:54,218
to completely redefine my words.

2043
02:03:54,218 --> 02:03:56,346
I mean, look at the
reverse shots on the students.

2044
02:03:56,346 --> 02:03:58,306
There's no way that was done
in real time.

2045
02:03:58,306 --> 02:03:59,807
It's a hatchet job.

2046
02:03:59,807 --> 02:04:01,809
I'm sure that's true, Lydia.

2047
02:04:01,809 --> 02:04:05,605
And were it just this video,
we would not be sitting here.

2048
02:04:05,605 --> 02:04:07,357
Unfortunately,
it's linked to an article in

2049
02:04:07,357 --> 02:04:09,817
the New York Post regarding
Krista Taylor's suicide,

2050
02:04:09,817 --> 02:04:12,904
which alludes to
other Accordion fellows

2051
02:04:12,904 --> 02:04:14,781
they claim to have interviewed.

2052
02:04:14,781 --> 02:04:16,949
Laura, can you tell us
about your conversations?

2053
02:04:16,949 --> 02:04:18,284
We haven't had any.

2054
02:04:18,284 --> 02:04:19,994
Obviously, we gave no response

2055
02:04:19,994 --> 02:04:22,664
-as we first wanted to meet
to discuss strategy. -Mm-hmm.

2056
02:04:22,664 --> 02:04:25,124
-Here's the article.
-Thank you, Laura.

2057
02:04:27,126 --> 02:04:29,420
(reading quietly)

2058
02:04:29,420 --> 02:04:32,757
"Enticed and groomed
multiple young women

2059
02:04:32,757 --> 02:04:35,718
"to engage in sex acts
for professional favors.

2060
02:04:35,718 --> 02:04:38,388
Blocked opportunities
to those who didn't comply."

2061
02:04:38,388 --> 02:04:40,807
This is total fiction.

2062
02:04:40,807 --> 02:04:43,226
And the Post is
a how-de-do scandal rag.

2063
02:04:43,226 --> 02:04:46,062
No serious person reads it.

2064
02:04:48,856 --> 02:04:52,735
And so far as
Krista Taylor goes,

2065
02:04:52,735 --> 02:04:54,153
she was disturbed.

2066
02:04:54,153 --> 02:04:56,364
I mean, she fixated on me.

2067
02:04:56,364 --> 02:04:58,199
In what way?

2068
02:04:58,199 --> 02:04:59,784
She sent me weird gifts.

2069
02:04:59,784 --> 02:05:01,452
She trolled me online.

2070
02:05:01,452 --> 02:05:04,330
-She tried to send me signals.
-Well, what kind of signals?

2071
02:05:04,330 --> 02:05:07,500
She vandalized my Wikipedia
page to say she was my muse.

2072
02:05:07,500 --> 02:05:09,877
I mean,
that's easily checked, right?

2073
02:05:09,877 --> 02:05:13,548
And did you ever report this
or file a complaint?

2074
02:05:15,091 --> 02:05:16,592
No.

2075
02:05:16,592 --> 02:05:19,429
No. And I... Look, I probably,
I probably should have.

2076
02:05:19,429 --> 02:05:21,931
I... I felt sorry for her.

2077
02:05:21,931 --> 02:05:23,599
Is this something
you shared with Sharon?

2078
02:05:23,599 --> 02:05:25,435
No. I didn't want
to burden her with it.

2079
02:05:25,435 --> 02:05:27,562
-Don't you think
you should have? -Yes. Yes.

2080
02:05:27,562 --> 02:05:29,272
Well, what-what do you advise?

2081
02:05:29,272 --> 02:05:31,774
Well, for now, it hasn't gotten
all that much traction.

2082
02:05:31,774 --> 02:05:34,527
None of the trades have linked
to it or called for comment.

2083
02:05:34,527 --> 02:05:36,946
-So I say let's see
what happens. -Mm-hmm.

2084
02:05:38,197 --> 02:05:41,784
We wanted to give you as much
warning as possible, Lydia,

2085
02:05:41,784 --> 02:05:43,870
before this Friday's
donor meeting.

2086
02:05:43,870 --> 02:05:45,830
Well, unfortunately,
I won't be there.

2087
02:05:45,830 --> 02:05:48,249
Well, I very much advise
that you are.

2088
02:05:48,249 --> 02:05:50,042
I have the book launch
in New York

2089
02:05:50,042 --> 02:05:52,628
and apparently a deposition.

2090
02:05:53,880 --> 02:05:56,841
Well, we'll fill you in
upon your return, then.

2091
02:05:59,427 --> 02:06:01,262
Enjoy your weekend.

2092
02:06:03,431 --> 02:06:05,641
Starving.

2093
02:06:05,641 --> 02:06:07,435
Finished my thing today.

2094
02:06:07,435 --> 02:06:10,313
SHARON: Congratulations.
We should go out and celebrate.

2095
02:06:10,313 --> 02:06:12,273
I can't. I gotta pack.

2096
02:06:12,273 --> 02:06:14,108
-Hi!
-PETRA: Hi, Lydia.

2097
02:06:19,614 --> 02:06:21,574
TÁR:
Sharon?

2098
02:06:21,574 --> 02:06:23,785
SHARON:
Yeah?

2099
02:06:23,785 --> 02:06:25,620
TÁR:
You seen my performance score?

2100
02:06:25,620 --> 02:06:28,164
SHARON: No. Why?
Isn't it with the other ones?

2101
02:06:28,164 --> 02:06:30,166
TÁR:
No. No, it's not.

2102
02:06:30,166 --> 02:06:32,752
Are you sure
it's not in my office?

2103
02:06:35,213 --> 02:06:37,799
Yeah, what about
the orchestra library?

2104
02:06:39,383 --> 02:06:42,011
Yeah, can you
check again, please?

2105
02:06:44,764 --> 02:06:47,350
I don't know. Yes, exactly.

2106
02:07:04,283 --> 02:07:06,744
(whispering):
Lydia?

2107
02:07:06,744 --> 02:07:09,038
(Tár sighs)

2108
02:07:09,038 --> 02:07:10,623
Yes?

2109
02:07:10,623 --> 02:07:13,459
When will you be back?

2110
02:07:13,459 --> 02:07:15,878
The day after tomorrow.

2111
02:07:15,878 --> 02:07:17,672
Will you promise?

2112
02:07:17,672 --> 02:07:19,924
Yes, I promise.

2113
02:07:30,226 --> 02:07:32,687
-Good night.
-Good night.

2114
02:07:46,993 --> 02:07:49,328
Thanks.
Do you have any bottles?

2115
02:07:49,328 --> 02:07:50,788
Of course.

2116
02:07:51,789 --> 02:07:53,958
Do you need anything else
before I close the cabin door?

2117
02:07:53,958 --> 02:07:57,003
Uh, yes.
Uh, we're waiting on one more.

2118
02:08:03,426 --> 02:08:05,011
WOMAN:
To all my questions

2119
02:08:05,011 --> 02:08:06,762
pertaining to
your communications

2120
02:08:06,762 --> 02:08:09,432
with Krista Taylor and others,

2121
02:08:09,432 --> 02:08:12,101
your answers have always been

2122
02:08:12,101 --> 02:08:16,856
"I don't know"
or "I don't remember."

2123
02:08:19,108 --> 02:08:20,651
Is there anything
I could show you

2124
02:08:20,651 --> 02:08:23,738
that might help refresh
your recollection?

2125
02:08:23,738 --> 02:08:26,490
Any documents,
such as emails from you

2126
02:08:26,490 --> 02:08:28,951
or your personal assistant,
Miss Lentini,

2127
02:08:28,951 --> 02:08:32,997
that might help you recall
what you did and didn't say?

2128
02:08:41,130 --> 02:08:42,798
I guess you heard by now.

2129
02:08:42,798 --> 02:08:45,718
Bryant Park bumped you
to 53rd Street.

2130
02:08:48,846 --> 02:08:51,933
This is the Kaplan Fund's
prepared statement.

2131
02:08:54,018 --> 02:08:55,603
I'm sorry to say this is likely

2132
02:08:55,603 --> 02:08:57,188
the last time
we'll see each other.

2133
02:08:57,188 --> 02:08:59,482
Well, now I can buy
my own plane tickets.

2134
02:08:59,482 --> 02:09:01,067
And you can bother someone else

2135
02:09:01,067 --> 02:09:04,737
to try and teach you
to crawl to the podium.

2136
02:09:04,737 --> 02:09:06,989
(car horns honking)

2137
02:09:10,618 --> 02:09:12,870
(crowd chanting faintly)

2138
02:09:17,083 --> 02:09:19,043
(chanting continues)

2139
02:09:19,043 --> 02:09:21,253
(car horn blaring outside)

2140
02:09:22,213 --> 02:09:24,590
Is there a back entrance?

2141
02:09:24,590 --> 02:09:28,844
"Indeed, the common metaphors
used to explain music

2142
02:09:28,844 --> 02:09:31,097
"are based on
the idea that music

2143
02:09:31,097 --> 02:09:35,685
"is a language,
albeit a secret one.

2144
02:09:35,685 --> 02:09:40,815
"And in this way,
holy and unknowable.

2145
02:09:42,566 --> 02:09:46,278
"These joyful noises we make
being the closest thing

2146
02:09:46,278 --> 02:09:50,282
"any of us might ever
experience to the divine...

2147
02:09:51,575 --> 02:09:56,622
"... yet something born by
the mere act of moving air.

2148
02:09:58,666 --> 02:10:01,377
No different than birdsong."

2149
02:10:04,255 --> 02:10:06,340
(bell dings)

2150
02:10:10,011 --> 02:10:12,555
So, meet downstairs
in half an hour for dinner?

2151
02:10:12,555 --> 02:10:15,349
Thank you, but I am jet-lagged.
I go to sleep now.

2152
02:10:15,349 --> 02:10:19,478
Yeah, me, too.
I'll... probably do the same.

2153
02:10:38,831 --> 02:10:40,999
(crowd clamoring)

2154
02:10:45,504 --> 02:10:47,548
(phone chiming)

2155
02:10:52,678 --> 02:10:54,930
(phone continues chiming)

2156
02:11:02,271 --> 02:11:04,065
(chiming stops)

2157
02:11:14,283 --> 02:11:16,452
(phone chiming)

2158
02:11:18,245 --> 02:11:19,872
TÁR:
Yes, hello.

2159
02:11:19,872 --> 02:11:22,750
Yes, there's no water
in my room.

2160
02:11:22,750 --> 02:11:24,877
Yes, I've checked the minibar.

2161
02:11:24,877 --> 02:11:27,505
How long would it take
to get a bottle of water?

2162
02:11:27,505 --> 02:11:30,091
Uh, don't worry.
I'll just come down.

2163
02:11:31,342 --> 02:11:33,052
(elevator bell dings)

2164
02:11:33,052 --> 02:11:34,720
OLGA:
Lobby, please.

2165
02:12:01,497 --> 02:12:04,416
(gasps) Oh, Jesus.

2166
02:12:04,416 --> 02:12:06,627
(Tár panting)

2167
02:12:11,382 --> 02:12:13,092
(shudders)

2168
02:12:16,554 --> 02:12:19,056
(sighs) It was Britta.

2169
02:12:20,057 --> 02:12:21,809
Right?

2170
02:12:21,809 --> 02:12:23,727
I mean, that is
how you heard about

2171
02:12:23,727 --> 02:12:26,522
these millennial robots
trading in lies.

2172
02:12:26,522 --> 02:12:29,358
I couldn't care less about
the Juilliard thing.

2173
02:12:29,358 --> 02:12:31,360
TÁR:
Too much time on her hands.

2174
02:12:31,360 --> 02:12:32,945
She's fringe.

2175
02:12:32,945 --> 02:12:35,281
The worst kind.

2176
02:12:35,281 --> 02:12:37,449
Every time
I walk out of this house,

2177
02:12:37,449 --> 02:12:41,162
she's in your ear with intrigue
or she's asking me about

2178
02:12:41,162 --> 02:12:44,540
some other piece of fringe,
like Samantha Hankey.

2179
02:12:44,540 --> 02:12:47,668
God, a nobody
who has nothing better to do

2180
02:12:47,668 --> 02:12:52,089
than drop my name at lunch
and imply things.

2181
02:12:52,089 --> 02:12:53,716
I feel sorry for you.

2182
02:12:53,716 --> 02:12:55,843
(scoffs) Save it.

2183
02:12:56,677 --> 02:12:59,054
I tried calling you last night.

2184
02:13:01,056 --> 02:13:03,767
Did you have fun with her?

2185
02:13:03,767 --> 02:13:06,770
My back is killing me.

2186
02:13:06,770 --> 02:13:08,147
Francesca left,

2187
02:13:08,147 --> 02:13:10,649
and I simply needed someone
to carry my bags.

2188
02:13:10,649 --> 02:13:12,735
I mean, who was I
supposed to ask?

2189
02:13:12,735 --> 02:13:15,905
To go with me? Hmm? Knut?

2190
02:13:15,905 --> 02:13:17,489
(sighs):
Jesus fucking...

2191
02:13:17,489 --> 02:13:19,783
SHARON: There are many things
I accept about you.

2192
02:13:19,783 --> 02:13:21,327
-(Tár scoffs)
-And in the end,

2193
02:13:21,327 --> 02:13:25,164
I'm sure I could get over
something like this.

2194
02:13:25,164 --> 02:13:28,083
But that's not what
we're talking about, is it?

2195
02:13:30,502 --> 02:13:31,962
These accusations

2196
02:13:31,962 --> 02:13:35,049
from the parents of the girl
who suicided?

2197
02:13:40,095 --> 02:13:42,848
You honestly believe
what they're saying?

2198
02:13:46,936 --> 02:13:48,646
They're lies.

2199
02:13:50,356 --> 02:13:52,149
Do you understand
what it was like

2200
02:13:52,149 --> 02:13:54,276
to walk into
my sectional yesterday

2201
02:13:54,276 --> 02:13:57,321
and to see everybody
whispering about me?

2202
02:13:57,321 --> 02:14:02,034
It's got nothing to do with
what they're accusing you of.

2203
02:14:02,034 --> 02:14:04,036
It's a simple matter

2204
02:14:04,036 --> 02:14:07,539
of not warning me
that our family is in danger.

2205
02:14:08,374 --> 02:14:10,584
And what good
would that have done?

2206
02:14:10,584 --> 02:14:13,712
I mean, what could you possibly
do to make things better?

2207
02:14:13,712 --> 02:14:16,048
(sighs)

2208
02:14:16,048 --> 02:14:18,425
Because I deserve that.

2209
02:14:18,425 --> 02:14:20,469
Those are the rules.

2210
02:14:21,387 --> 02:14:23,973
You are to ask
for my fucking counsel,

2211
02:14:23,973 --> 02:14:26,016
the way you always have.

2212
02:14:26,016 --> 02:14:27,977
The way you did
when you first arrived here

2213
02:14:27,977 --> 02:14:30,813
as a guest conductor looking
for a permanent position.

2214
02:14:30,813 --> 02:14:33,315
You asked me
what were the politics,

2215
02:14:33,315 --> 02:14:36,360
what were the moves,
how could we swing it.

2216
02:14:36,360 --> 02:14:38,028
(sighs)

2217
02:14:39,071 --> 02:14:40,906
Of course...

2218
02:14:40,906 --> 02:14:44,493
these conversations
took place in another bed.

2219
02:14:44,493 --> 02:14:47,121
Or rather, the couch

2220
02:14:47,121 --> 02:14:49,581
of that horrible place
you still can't let go of.

2221
02:14:49,581 --> 02:14:52,334
Old sorrow blows in.

2222
02:14:53,919 --> 02:14:58,340
How cruel of you to define our
relationship as transactional.

2223
02:14:59,425 --> 02:15:01,385
(sighs)

2224
02:15:01,385 --> 02:15:05,639
There's only one relationship
you've ever had that wasn't.

2225
02:15:05,639 --> 02:15:08,767
And she is sleeping
in the room next door.

2226
02:15:08,767 --> 02:15:11,895
Apparently, this hasn't even
crossed your mind.

2227
02:15:32,916 --> 02:15:35,753
(electronic beeping)

2228
02:15:39,381 --> 02:15:41,550
(quiet chatter)

2229
02:15:49,058 --> 02:15:50,809
(chatter stops)

2230
02:15:55,564 --> 02:15:58,317
(woman laughs in distance)

2231
02:16:13,374 --> 02:16:16,251
(panting)

2232
02:16:17,086 --> 02:16:19,296
(meditative breaths)

2233
02:16:40,567 --> 02:16:42,486
(gasps)

2234
02:16:42,486 --> 02:16:44,238
(exhales sharply)

2235
02:16:45,197 --> 02:16:47,408
(grunting)

2236
02:17:01,463 --> 02:17:03,590
(train rumbling)

2237
02:17:22,943 --> 02:17:24,528
(kids chattering playfully)

2238
02:17:24,528 --> 02:17:26,530
TÁR:
Petra!

2239
02:17:29,074 --> 02:17:30,826
Come here, darling.

2240
02:17:33,120 --> 02:17:34,538
-It was good.
-Was it?

2241
02:17:34,538 --> 02:17:36,874
-Yeah.
-You want to go to the park?

2242
02:17:37,749 --> 02:17:39,918
Don't do this.
Please don't do this.

2243
02:17:39,918 --> 02:17:41,545
Please don't.

2244
02:17:46,884 --> 02:17:49,052
(panting softly)

2245
02:17:56,810 --> 02:17:59,563
(inhales deeply,
whispers indistinctly)

2246
02:18:03,192 --> 02:18:04,776
-(loud knock on door)
-(gasps)

2247
02:18:07,654 --> 02:18:10,115
Hello. I am Anna Franzen.

2248
02:18:10,115 --> 02:18:13,118
This is
my late mother's apartment.

2249
02:18:14,453 --> 02:18:17,956
Oh, yeah, I'm so sorry
about your mother.

2250
02:18:17,956 --> 02:18:20,250
Thank you.

2251
02:18:20,250 --> 02:18:22,294
How's your sister doing?

2252
02:18:22,294 --> 02:18:25,672
Eleanor lives now
in a facility in Neukölln.

2253
02:18:25,672 --> 02:18:27,299
I'm sorry to trouble you,

2254
02:18:27,299 --> 02:18:30,719
but my husband and I
are selling the place

2255
02:18:30,719 --> 02:18:34,890
and couldn't help
hearing the music.

2256
02:18:34,890 --> 02:18:36,099
Oh.

2257
02:18:36,099 --> 02:18:37,726
I'm glad you enjoyed it.
(sniffles)

2258
02:18:37,726 --> 02:18:39,394
MAN:
We were wondering if there are

2259
02:18:39,394 --> 02:18:41,230
specific hours you rehearse,

2260
02:18:41,230 --> 02:18:44,149
so we can schedule showings
around them.

2261
02:18:45,150 --> 02:18:47,986
We don't want to scare
potential buyers off

2262
02:18:47,986 --> 02:18:50,656
with all the noise.

2263
02:18:50,656 --> 02:18:53,242
(laughs):
Oh, no.

2264
02:18:53,242 --> 02:18:54,409
No.

2265
02:18:54,409 --> 02:18:56,453
(laughing)

2266
02:18:56,453 --> 02:18:58,580
No, we wouldn't want that.

2267
02:18:58,580 --> 02:19:00,249
(laughing)

2268
02:19:01,124 --> 02:19:03,293
(rummaging)

2269
02:19:06,004 --> 02:19:08,298
(accordion playing
discordant music)

2270
02:19:11,718 --> 02:19:14,805
(loudly, off-key):
♪ Apartment for sale ♪

2271
02:19:14,805 --> 02:19:17,975
(laughs):
♪ Apartment for sale ♪

2272
02:19:17,975 --> 02:19:20,769
♪ Your mother's buried deep ♪

2273
02:19:20,769 --> 02:19:23,272
♪ And now you're gonna keep ♪

2274
02:19:23,272 --> 02:19:26,441
♪ Her apartment for sale ♪

2275
02:19:26,441 --> 02:19:28,485
♪ Your sister's in jail ♪

2276
02:19:28,485 --> 02:19:31,822
♪ You put your sister in jail ♪

2277
02:19:31,822 --> 02:19:34,074
♪ You're all going to hell ♪

2278
02:19:34,074 --> 02:19:37,160
♪ Your apartment's for sale! ♪

2279
02:19:37,160 --> 02:19:39,371
(indistinct chatter)

2280
02:20:01,893 --> 02:20:04,229
-(indistinct chatter)
-(instruments warming up)

2281
02:20:06,648 --> 02:20:08,817
(quiet chatter)

2282
02:20:11,069 --> 02:20:13,488
-(indistinct chatter)
-(instruments warming up)

2283
02:20:25,709 --> 02:20:27,502
(applause)

2284
02:20:36,011 --> 02:20:38,305
(applause continues in distance)

2285
02:20:41,266 --> 02:20:43,727
(applause fades)

2286
02:20:43,727 --> 02:20:46,021
(Tár breathes sharply)

2287
02:20:48,732 --> 02:20:50,942
(playing slow classical fanfare)

2288
02:21:12,297 --> 02:21:14,466
(orchestra joins in)

2289
02:21:23,725 --> 02:21:26,103
(grunting)

2290
02:21:26,103 --> 02:21:28,021
(yells)

2291
02:21:28,021 --> 02:21:29,481
-(crowd gasps)
-(music stops)

2292
02:21:29,481 --> 02:21:31,900
(Tár panting)

2293
02:21:31,900 --> 02:21:32,901
Okay.

2294
02:21:32,901 --> 02:21:34,695
(speaking German)

2295
02:21:34,695 --> 02:21:36,154
Give me some eyes.

2296
02:21:36,154 --> 02:21:37,614
(crowd murmuring)

2297
02:21:41,076 --> 02:21:42,869
-Come on, give me some eyes!
-(clapping)

2298
02:21:46,957 --> 02:21:48,750
ELIOT:
Lydia.

2299
02:21:49,626 --> 02:21:52,421
This is my score.

2300
02:21:52,421 --> 02:21:54,798
-Lydia, you're confused.
-(grunts)

2301
02:21:54,798 --> 02:21:56,675
-It's my score!
-(crowd gasping, murmuring)

2302
02:21:56,675 --> 02:22:00,178
-You fucking little nothing!
-(grunts)

2303
02:22:02,931 --> 02:22:04,599
(Eliot grunts)

2304
02:22:04,599 --> 02:22:06,768
(panting)

2305
02:22:08,353 --> 02:22:09,521
TÁR:
I'm fine.

2306
02:22:09,521 --> 02:22:11,773
(crowd continues murmuring)

2307
02:22:12,733 --> 02:22:15,235
(Tár panting)

2308
02:22:39,134 --> 02:22:41,803
DRIVER:
You sign CAMI voucher.

2309
02:22:41,803 --> 02:22:44,139
(driver speaking into phone
in Tamil)

2310
02:22:53,023 --> 02:22:55,317
(pile driver rattling
and thumping)

2311
02:23:02,574 --> 02:23:03,742
(phone rings in distance)

2312
02:23:03,742 --> 02:23:06,369
MAN:
Good afternoon. CAMI.

2313
02:23:06,369 --> 02:23:07,913
Hold on.

2314
02:23:08,872 --> 02:23:10,582
CORY:
Normally, I'd think Lisa Rich

2315
02:23:10,582 --> 02:23:13,210
in our booking department
would be a great fit for you,

2316
02:23:13,210 --> 02:23:15,462
but she's just got
too much on her plate.

2317
02:23:15,462 --> 02:23:18,924
So, I'd like to team you
with Jake here.

2318
02:23:18,924 --> 02:23:21,468
Jake, you want to,
you want to show Lydia

2319
02:23:21,468 --> 02:23:23,053
what you've prepared for her?

2320
02:23:23,053 --> 02:23:25,430
Well...

2321
02:23:25,430 --> 02:23:27,933
right now it's a reset.

2322
02:23:27,933 --> 02:23:29,684
What we're after is less,
not more.

2323
02:23:29,684 --> 02:23:30,936
We want to be selective

2324
02:23:30,936 --> 02:23:33,021
and rebuild this
from the ground up.

2325
02:23:33,021 --> 02:23:34,940
That means we need a new story.

2326
02:23:39,569 --> 02:23:41,363
TÁR:
Just here.

2327
02:23:41,363 --> 02:23:43,240
Here. Thank you.

2328
02:23:43,240 --> 02:23:45,116
(clears throat) Make it 40.

2329
02:23:45,116 --> 02:23:46,743
Thank you.

2330
02:23:54,668 --> 02:23:56,837
(sighs)

2331
02:24:05,762 --> 02:24:07,973
(piano plays note)

2332
02:24:09,057 --> 02:24:11,268
(piano playing discordant notes)

2333
02:24:15,230 --> 02:24:17,440
(music stops)

2334
02:24:54,102 --> 02:24:56,271
(sighs)

2335
02:25:01,526 --> 02:25:03,987
(orchestra playing
lively classical music over TV)

2336
02:25:18,919 --> 02:25:20,337
(music ends)

2337
02:25:20,337 --> 02:25:22,213
(over TV):
Didn't you feel triumphant?

2338
02:25:22,213 --> 02:25:24,299
(applause over TV)

2339
02:25:25,675 --> 02:25:29,471
Now we can really understand
what the meaning of music is.

2340
02:25:29,471 --> 02:25:33,600
It's the way it makes you feel
when you hear it.

2341
02:25:33,600 --> 02:25:36,728
Finally, we've taken
that last giant step.

2342
02:25:36,728 --> 02:25:39,314
And we're there.
We know what music means now.

2343
02:25:39,314 --> 02:25:42,150
And we don't have to know
a lot of stuff about sharps

2344
02:25:42,150 --> 02:25:44,778
and flats and chords
and all that business

2345
02:25:44,778 --> 02:25:49,658
in order to understand music
if it tells us something.

2346
02:25:49,658 --> 02:25:53,161
And the most wonderful thing of
all is that there's no limit to

2347
02:25:53,161 --> 02:25:57,457
the different kinds of feelings
music can make you have.

2348
02:25:57,457 --> 02:26:01,419
And some of those feelings
are so special and so deep

2349
02:26:01,419 --> 02:26:03,838
that they can't even be
described in words.

2350
02:26:03,838 --> 02:26:05,256
You see, we can't always name

2351
02:26:05,256 --> 02:26:06,508
-the things we feel.
-(sobs softly)

2352
02:26:06,508 --> 02:26:07,592
Sometimes we can.

2353
02:26:07,592 --> 02:26:09,135
We can say we feel joy,

2354
02:26:09,135 --> 02:26:12,973
pleasure, peacefulness,
whatever, love, hate.

2355
02:26:12,973 --> 02:26:15,183
But every once in a while,

2356
02:26:15,183 --> 02:26:18,061
we have feelings that are
so deep and so special

2357
02:26:18,061 --> 02:26:19,688
that we have no words for them.

2358
02:26:19,688 --> 02:26:22,774
And that's where music
is so marvelous,

2359
02:26:22,774 --> 02:26:25,110
because music names them for us,

2360
02:26:25,110 --> 02:26:28,113
only in notes
instead of in words.

2361
02:26:28,113 --> 02:26:29,739
It's all in the way music moves.

2362
02:26:29,739 --> 02:26:32,409
You must never forget
that music is movement,

2363
02:26:32,409 --> 02:26:35,245
always going somewhere,
shifting and changing

2364
02:26:35,245 --> 02:26:38,999
and flowing
from one note to another.

2365
02:26:38,999 --> 02:26:40,625
-(crying)
-And that movement can tell us

2366
02:26:40,625 --> 02:26:43,795
more about the way we feel
than a million words can.

2367
02:26:43,795 --> 02:26:45,505
And here we're going
to play you a...

2368
02:26:45,505 --> 02:26:47,799
-(VCR clicks)
-(whimpers)

2369
02:26:50,427 --> 02:26:52,554
(door opens in distance)

2370
02:26:52,554 --> 02:26:54,472
(exhales sharply, sniffles)

2371
02:26:59,936 --> 02:27:01,646
Tony.

2372
02:27:02,897 --> 02:27:04,524
Oh.

2373
02:27:04,524 --> 02:27:05,859
Hi, Linda.

2374
02:27:05,859 --> 02:27:07,152
Sorry.

2375
02:27:07,152 --> 02:27:09,446
Lydia.

2376
02:27:09,446 --> 02:27:11,865
Ma said you'd be over.

2377
02:27:11,865 --> 02:27:14,200
You must be hiding out.

2378
02:27:14,993 --> 02:27:17,579
Why would I be hiding out?

2379
02:27:17,579 --> 02:27:19,831
Beats the hell out of me.

2380
02:27:19,831 --> 02:27:22,042
None of my business anyhow.

2381
02:27:23,209 --> 02:27:25,795
Lot of loose ends,
you got to admit.

2382
02:27:27,338 --> 02:27:28,757
What do you mean?

2383
02:27:28,757 --> 02:27:31,051
Well, like I said,
it ain't my business.

2384
02:27:32,218 --> 02:27:34,471
But you don't seem to know
where the hell you came from

2385
02:27:34,471 --> 02:27:36,222
or where you're going.

2386
02:27:41,102 --> 02:27:43,354
(woman speaking Thai over P.A.)

2387
02:27:49,069 --> 02:27:51,362
(water runs, stops)

2388
02:28:11,132 --> 02:28:13,301
(traffic passing)

2389
02:28:19,057 --> 02:28:21,726
(rooster crowing)

2390
02:28:21,726 --> 02:28:23,728
(car horn honking)

2391
02:28:28,483 --> 02:28:30,276
May I come inside?

2392
02:28:31,569 --> 02:28:33,238
Thank you.

2393
02:28:34,906 --> 02:28:38,118
(conversing in Tagalog)

2394
02:28:45,250 --> 02:28:46,918
Um, I'm so sorry.

2395
02:28:46,918 --> 02:28:49,546
Uh, we just wanted to confirm
that the composer was in fact

2396
02:28:49,546 --> 02:28:51,589
not flying in from Osaka
to attend the concert.

2397
02:28:51,589 --> 02:28:53,007
Oh.

2398
02:28:53,007 --> 02:28:56,219
I-I must tell you that I-I
looked in the music libraries,

2399
02:28:56,219 --> 02:29:00,056
uh, for her score,
but I-I couldn't find anything.

2400
02:29:00,056 --> 02:29:02,350
-This just arrived.
-Ah.

2401
02:29:02,350 --> 02:29:04,561
That's great. Thank you.

2402
02:29:05,812 --> 02:29:08,273
Shirley and Cirio will be
most happy to show you

2403
02:29:08,273 --> 02:29:10,525
-the sights of our beautiful
country. -Oh. Thank you.

2404
02:29:10,525 --> 02:29:12,318
Thank you so much.

2405
02:29:12,318 --> 02:29:14,529
Oh, goodness.

2406
02:29:14,529 --> 02:29:16,281
Thank-thank you.

2407
02:29:22,120 --> 02:29:24,914
(man howls)

2408
02:29:40,054 --> 02:29:42,265
(motor rattling quietly)

2409
02:29:47,353 --> 02:29:51,482
Maybe we could stop somewhere
and take a swim.

2410
02:29:51,482 --> 02:29:53,234
Yeah, at the waterfall.

2411
02:29:53,234 --> 02:29:55,320
But, mm, not in the river.

2412
02:29:55,320 --> 02:29:57,906
Why? Is there something wrong
with the water?

2413
02:29:57,906 --> 02:30:00,658
N-No. There are crocodiles.

2414
02:30:00,658 --> 02:30:02,702
Oh.

2415
02:30:02,702 --> 02:30:05,246
I didn't think
they'd be this far inland.

2416
02:30:05,246 --> 02:30:08,249
They escaped from
Marlon Brando movie.

2417
02:30:08,249 --> 02:30:09,918
Wow.

2418
02:30:09,918 --> 02:30:12,837
That was a long time ago.

2419
02:30:12,837 --> 02:30:14,714
They survive.

2420
02:30:20,678 --> 02:30:22,931
(playful screaming, laughter)

2421
02:30:29,395 --> 02:30:31,606
(Shirley whoops)

2422
02:30:31,606 --> 02:30:33,858
(Shirley and Cirio laughing)

2423
02:30:41,324 --> 02:30:44,577
(men speaking Tagalog, kissing)

2424
02:30:48,998 --> 02:30:51,334
-Lady. Lady.
-(chatter continues) -(kissing)

2425
02:30:53,419 --> 02:30:54,796
Here is prescription.

2426
02:30:54,796 --> 02:30:56,547
-Ten dollars.
-Oh. Thank you.

2427
02:30:56,547 --> 02:30:57,799
(pills rattle)

2428
02:30:57,799 --> 02:31:02,053
Uh, is there somewhere
around here-- thank you--

2429
02:31:02,053 --> 02:31:04,097
where I could get a massage?

2430
02:31:04,097 --> 02:31:06,766
Was hoping it might help me
with this jet lag.

2431
02:31:06,766 --> 02:31:08,726
(sighs)

2432
02:31:08,726 --> 02:31:10,728
Hmm.

2433
02:31:10,728 --> 02:31:11,980
Yes.

2434
02:31:11,980 --> 02:31:14,857
There is
the very nice place I know.

2435
02:31:14,857 --> 02:31:16,651
Thank you.

2436
02:31:16,651 --> 02:31:19,070
(relaxing music playing
over speakers)

2437
02:31:29,706 --> 02:31:31,040
Thank you.

2438
02:31:31,040 --> 02:31:32,917
Please step over
to the fishbowl.

2439
02:31:32,917 --> 02:31:34,794
The... the fishbowl?

2440
02:31:34,794 --> 02:31:36,546
Yes, over there.

2441
02:31:41,884 --> 02:31:43,344
Um, I'm sorry, I'm confused.

2442
02:31:43,344 --> 02:31:45,555
H-How does this...
how does it work?

2443
02:31:46,389 --> 02:31:48,599
You just pick a number here.

2444
02:31:49,934 --> 02:31:52,103
I pick a number?

2445
02:31:52,103 --> 02:31:53,688
Yes.

2446
02:31:53,688 --> 02:31:55,231
(chuckles)

2447
02:32:04,741 --> 02:32:06,993
RECEPTIONIST:
Number five?

2448
02:32:12,457 --> 02:32:14,375
(gasps)

2449
02:32:19,505 --> 02:32:21,341
(gagging)

2450
02:32:21,341 --> 02:32:23,509
(retching)

2451
02:32:25,636 --> 02:32:27,096
(groans)

2452
02:32:27,096 --> 02:32:28,681
(panting)

2453
02:32:35,229 --> 02:32:37,482
(music playing quietly over TV)

2454
02:32:44,447 --> 02:32:46,657
(woman speaking Tagalog)

2455
02:32:50,328 --> 02:32:52,038
Good morning.

2456
02:32:52,038 --> 02:32:53,581
MUSICIANS:
Good morning.

2457
02:32:53,581 --> 02:32:56,167
Now, before we begin,
let's-let's talk a bit about

2458
02:32:56,167 --> 02:32:59,796
the composer's intent
with this piece.

2459
02:33:01,047 --> 02:33:03,091
And what she might be after.

2460
02:33:03,091 --> 02:33:04,967
(busy chatter)

2461
02:33:04,967 --> 02:33:07,261
(pop music playing
over speakers)

2462
02:33:21,984 --> 02:33:24,028
-(sighs)
-MAN: Five minutes.

2463
02:33:25,446 --> 02:33:27,740
(instruments warming up
in distance)

2464
02:33:32,286 --> 02:33:34,455
(panting softly)

2465
02:33:36,290 --> 02:33:37,875
(gasps)

2466
02:33:37,875 --> 02:33:39,377
(exhales sharply)

2467
02:33:39,377 --> 02:33:41,546
(applause)

2468
02:33:50,304 --> 02:33:52,432
(applause swells)

2469
02:33:55,435 --> 02:33:57,395
-Thank you.
-(applause fades)

2470
02:34:05,403 --> 02:34:07,363
(mechanical whirring)

2471
02:34:11,742 --> 02:34:13,327
(whirring stops)

2472
02:34:16,414 --> 02:34:19,584
(fabric rustling over speakers)

2473
02:34:19,584 --> 02:34:21,377
(orchestra playing gentle music)

2474
02:34:21,377 --> 02:34:25,465
ANNOUNCER: Sisters and brothers
of the Fifth Fleet, it's time.

2475
02:34:25,465 --> 02:34:27,884
I'll keep my farewell brief.

2476
02:34:27,884 --> 02:34:30,511
Never was much with words.

2477
02:34:30,511 --> 02:34:34,640
Once you board this ship,
there's no turning back.

2478
02:34:34,640 --> 02:34:38,936
The next ground your feet touch
will be that of the New World.

2479
02:34:38,936 --> 02:34:41,439
(music building)

2480
02:34:41,439 --> 02:34:43,441
If any of you
have lost your nerve,

2481
02:34:43,441 --> 02:34:47,862
then step away now
and let no one judge you.

2482
02:34:47,862 --> 02:34:50,072
(music fades)

2483
02:34:56,120 --> 02:34:58,247
♪ ♪

2484
02:35:26,234 --> 02:35:28,444
♪ ♪

2485
02:35:52,927 --> 02:35:54,554
♪ ♪

2486
02:36:22,540 --> 02:36:24,709
♪ ♪

2487
02:36:54,572 --> 02:36:56,741
♪ ♪

2488
02:37:23,267 --> 02:37:25,436
♪ ♪

2489
02:37:53,047 --> 02:37:55,132
♪ ♪

2490
02:38:05,393 --> 02:38:07,561
(music ends)