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Nathalie Djurberg: Art is like one of the[br]few places in society that is not so rigid,

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which doesn't have to have one single purpose,

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because where would this fit in otherwise?

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My work, it's a looking for the answer,

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but the answer itself is not so important.

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It's more important what I discover during[br]the making of it.

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I moved here around 2003 for the electronic[br]music scene.

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I was just sitting at home making music for[br]myself, before I met Nathalie.

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Berlin is like a free zone.

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You live in a sort of bubble.

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There's not so many social constraints.

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Djurberg: Living in Berlin has had a big influence.

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For me, it's more feeling very free.

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I'm self-taught in animation, and he's kind[br]of the same with music.

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Berg:[br]If you're self-taught, what's driving you

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is the necessity to do it.

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Djurberg: The best way that I can make the[br]idea is by making an animation.

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It's just because that fits me.

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If I could do it in a simpler way, I would.

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So if I was a brilliant writer, I would write.

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Before, I had been so frustrated in not being[br]able to tell what I wanted to tell.

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I didn't find a way to do it in one image.

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Then I made an animation, and that suited[br]me perfectly,

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because I didn't have to be content with one image.

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I could have a thousand.

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In the studio there are no taboos.

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Taboos exist because we are really scared[br]of being that ourselves.

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So we don't look at it.

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Bringing art into the light--to say that,

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"No, that was just a thought"--

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didn't really belong to me in that way.

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I was just so terrified of looking at it,

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because I was so scared of finding out something[br]about myself.

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I never did something that was a maze before.

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But this is pretty massive,

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because usually I don't have to be inside[br]the set this much.

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Berg: When we met, she didn't think I'd be[br]a good musical partner.

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Djurberg: He was sharing an apartment with[br]my best friend,

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and she suggested he would make music to me.

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I gave him a finished one I wasn't happy with.

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Berg: When I saw her films, I hadn't seen[br]anything like it before.

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Like nothing.

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There's nothing that looks like it.

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It evoked something specific with me.

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In the beginning, I was kind of scared to[br]make music for them actually.

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Because I thought, I don't want to change[br]them too much.

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Djurberg: When he gave it back to me, he had[br]flipped it so much,

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that all the mistakes and all the crudeness[br]of it didn't matter.

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It had made the flip that I hadn't been able to.

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Even though images evoke emotions,

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music or sound do it even more.

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Hans is an expert manipulator in that way.

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I don't really care about story.

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It's the situation that interests me.

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For me, it's not so interesting if I know[br]everything that's going to happen in animation.

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I lose interest in it because then I've already[br]seen it in my head.

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I don't write ideas up.

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I never do because the one that matters stays anyway,

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or they come back in another form.

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Berg: It's more about letting things pop up[br]and just knowing which things to grab.

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That's how I see ideas, a bit like I don't[br]make them.

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I'm more catching them.

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The best I can do is just catch the right ideas.

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Djurberg: I am intrigued by what is hidden[br]and what it is trying to hide.

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For the "Dark Side of the Moon," it's about[br]exploring a secret that you don't know what it is,

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like your own secret that you expect to find[br]but you never find it because it doesn't really

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exist.

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Berg: For this film, which is in this enchanted[br]forest setting,

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I wanted the music to be mystical.

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It's more like a musical almost.

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Because the characters are so clumsy, and[br]ugly, and a bit disgusting,

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I wanted to make the music really beautiful.

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Djurberg: There's always a distance when you[br]look at a screen or a projection.

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I wanted to have this immersion of being with[br]this physically.

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Berg: It's like walking inside an animation.

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The forest, it's like a magical place.

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I wanted to work with that.

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Djurberg: Both Hans and I are very colored[br]by being Swedish.

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The culture of the folklore, that was a very,[br]very big influence in my childhood.

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That always went back to nature, like fables[br]where animals are representing different human

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characters.

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If I use an animal, I can show a personal[br]trait, a characteristic.

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I was extremely fascinated with the folklore[br]that are not directed for children.

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My art is not for children.

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A child would look at the animation.

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They might see a banana, but a grownup might not.

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They will see a banana but also what it symbolizes.

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My process is really long.

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The animation that I'm working on now, I worked[br]on it for four and a half months.

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I don't like post-production at all, and I[br]don't like editing.

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There is no point in doing that afterwards.

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Animating is for me to jump into the unknown.

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Once that is done, there is no feeling or[br]necessity to work with it after.

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Berg: Now I'm just trying out different basic ideas.

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It's quite dark, and I want to keep it like that.

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In this animation, the search that goes on[br]and on in this maze,

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I want the music to be almost like it's rolling[br]forward all the time, almost a bit drunk.

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That's what I want to emphasize with the music.

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Djurberg: The film is about that you get lost[br]in your own mind.

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Wanting to get out, you keep on going in this loop,

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just going through these corridors like a maze,

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never getting out.

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Even if I'm not doing something that is directly[br]about me,

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it's absolutely still about me.

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Everything I do in art is a discovering of[br]who I am.

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That is the search.

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That is the fascination.

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I don't think that emotions or feelings should[br]be controlled.

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They should be felt and looked at.

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It's when they're hidden that they are a problem.

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I have nothing really to say to anyone because[br]I can't know what anyone else needs.

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You can think that you know what someone else[br]needs, but it's impossible to know.

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But since people are not that different and[br]I'm a human being,

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some parts of me will really resonate with[br]other people.