Talking about her new concert movie, Björk: Cornucopia, the film of the same name mentions the way she performs in the film and the message of the ultimate hope she wants to convey.

She said the movie ended with a climax message that “love will save us from death”, “I believe this very much. This is a weird answer to the Goth of the Master Joy. I think Optimistic She declared, Gothic. She added:Albino Goth It's what I want here. ”

Arriving at the exciting ending on the stage is a typical shocking experience "Björk: Cornucopia", a magical real concert film chronicles her five-year tour that opened in cinemas around the world today. (Tickets for this movie and theatre location can be found here.)

When you ask Iceland's audio-visual art idol to tour in depth, she goes Deep. It can be expected to talk about a project that exudes her emotional depth experimentally and explosively using fantastic images, the emotional depth of the album forms her "Cornucopia" tour list - the recovery of "Fulnicura", the post-break music, the life cycle of "Fossora", "Fossora" and "Myth", "Mirth and Mirth and Mirth the Mirth and utlift of" Utopia of "utopia of" utopia.

This trip welcomes custom instruments (magnetic harp, round flute) and frequently used VR visuals to fill the world of homemade “Sci-Fi” with her haunting story. As the "sound and visual director" of tours and films, Bjork coaxed and curated an immersive universe of animated curtains (Modern). Slides), electric vulva, propelling snow, spiral spiral stimulating light and angel wings of instrumentalists playing in the Dolby atmosphere in space audio. Filmed live at the 19th Century Theater in Lisbon, the Digital Competition-Analog showcases "COTREUCOPIA" with little comparison of its nuance or novelty, except for this tour of the film experience.

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Answering questions via email, with some "Kindas" in her written answer, Björk is like a engaging and single conversational home with voice and visual artisan.

With "utopia", you fabricate the sound language for perfect fantasy - Your best dream, the audience's idea of ​​paradise and the possibilities on the other side of that fantasy, including the way the dream is corrupt. By the time the tour ended with the Cornucopia document, did your dreams and hopes develop?

I think even though I named the album Utopia, I know it’s not only about our desire for a sublime world, but also how we feel when it doesn’t work. Our disappointment. Emotionally, it’s almost more about the scope of human despair, how we try to master the ideal life. I think my own personal expectations are consistent with that. Understanding that the situation changes very slowly and there are a lot of efforts. This is a marathon. But, of course, the urgency of dreams. We must hope - not only in our personal lives, but also in global things like climate change. The Paris Climate Agreement is a utopian desire. All of them will be very difficult. But if we only rise to half, it's worth the effort. It was tragic when the United States left the deal for the second time. I hope Trump can rejoin it.

"Utopia" is the main element of the list of "Cornery of War" collections. Do you think it is the most prominent visual element? Optical or graphically, what are things and dreams in life and dreams?

For me, it starts with sound. After "Vulnicura," this is my heartbreaking album - all the stark, barren, winter sound songs - I long for the opposite. Ecstasy, summer and celebration sounds. So I popped in the element - the air, the synthesizer that sounded like a flute, the flute that sounded like a synthesizer - to fit the emotional need to float in the air like helium after sadness. Often, after I recorded an album, in order to keep the team in sync, I often gather a visual palette to describe the sound world we are pursuing. I remember talking about the palette of mint green and peaches, as well as the textures, textiles and tone, all airy and fluffy to match the flute. I remember mentioning the baby albino giraffe in the sky and the sci-fi island.

From past projects, we know that you are a passionate curator-licensor. Can you discuss how to transform the vision of "Voice and Visual Director" of "Cornery of War" into director ísold Uggadóttir, your choreographer, stage director and other background filmmakers such as Tobias Gremmler?

From start to finish, I have been the only person involved in the project and I work one-on-one with every participant. So, this is my child. Whether it’s a DPS, a lighting staff, animator, an editor or a director, I speak a different language to different people. Actually, we have three directors - one for the theater performance, the other for the movie and my movie. Overall, I described to everyone how they worked with me to create a science fiction island with a group of women in the clouds who went to escape violence and started over with a flute. Therefore, it has this soft color sweetness, but has the advantage. It's a bit ridiculous, matching human emotional impulses in a better world. Therefore, this is the distortion of despair.

I remember asking (costume designer) James Merry helped me become a mutant, just like a human being turned into a plant, if he could turn my skin into a biological orchid. To do this, he created and engraved the form with silicon that stuck to my face. I remember asking Tobias how he made porn, ecstatic plants, describing how they had to be fantasy plants. All of this is about creating a new world, so it has to be wet and lubricated. It's an incredible world, and new exciting collisions in biology have flourished. From my experience working in music video formats, I have experience that always emphasizes synopsis, which is the extreme accuracy of synchronizing emotions in each song to visual effects. Therefore, every 10 seconds of screen time will be discussed. Also, I wanted a Times Square - Jinda - the senses crossed the load and turned each song on and off with seven screens, similarly to the editing in the movie, so the dozens of times in each song, the images coordinated with the feeling of the music.

Although the “Cornery” journey is conceived primarily around the songs of “Utopia,” you include more painful elements of “vulnicura” and “fossora”. What colors and concepts did you delve into these two albums? How do you fit them into the vision of “utopia”?

I feel the performance in "Vulnicura" added in "Family", "Gate" and "Notget" is the same as the prequel. This is why we find ourselves in this ecstatic “utopia.” When I chose the happy songs in "fossora" ("ovules, "fossora", "atopos"), they represent more of my fungal botanical angles, so it's easy to add them. I think emotionally, this works dramatically, because "utopia" is a lifetime in "dreams" and "fossora". Emotionally, we experience the chronology of everyday life, not always in time and linear.

For example, a song like “vulnicura” (album) is our last song. However, it has a message about love and conclusions, which makes it a potential ending track for the “Cornet of War”, whose “love will save us from death” as a message. I want optimistic goths… Albino goths are what I want here.

So, it is fair to say that after the sad events behind "Vulnicura", do you want to create something free and ecstasy?

Yes. I think so…just like joy after catharsis, calm after the storm. But it is also an ideological thing. I feel that after trauma, people come up with what is usually idealistic for future declarations, such as the secret to survival. "Fossora" is when you eliminate them in real life.

Before you release “Fossora” in 2022, I witnessed the New York “Coritucopia” residence performance in New York City. Is this written and documented in any way through your mother’s delivery?

There are two songs on “Fossora” about my mother. The rest of the songs are happier, ecstatic and exciting. I do think the songs about mom can be almost on a separate EP. In fact, I will be exhibiting the 2026 solar eclipse in Iceland as a museum work for the viscera.

The “Cornet of Cornucopia” touches on the sacredness of female gods, knowledge gathered from the myths of Africa, Asia, South America and Scandinavian states, women discover power in the flute, keeping children with them when women and their environment are threatened, and then dragging them to a new utopia without violence, without violence… or male. When the men return, they make a mess…but you, the kids and the flute handle. How has the male energy and global sociopolitics that we all experience recently affect your work, especially the evolution of works like “Cornucopia”?

I want to emphasize here that pacifist men and violent ladies…. But, in "Cornery", I'm dealing with more male aggression energy, especially after two hours after Sandy Hook's two-hour kid, living partly in a country with a massive shot once a day. I come from a country without an army and almost no crime, so it's all devastating to me. Trying to browse this philosophically, and my mother's instincts are getting higher and higher

The "Cornery of War" movie has many moving works. How did you achieve it seamlessly? What moments have given the biggest challenges from recording to stage to recording this on film? What solutions do you and your director find to make it work?

I've worked in 360 visuals and sounds for a decade, as "Biofriendly" and "Vulnicura" are apps on touch screens and VR headsets. I have been working with animation programmers to engage in “unification”, innovate 360 ​​sound master software, and more. In short, the "Cornet" is about taking visuals out of VR headphones and then entering the 19th century stage, making it physically and vibrant, but keeping the round energy.

To me, the ultimate core of the film was “his rise of my senses”, so I started working with Tobias Gremmler to sync the harp with straw in the animation to make it very precise and make it feel full, bloom, bloom, bloom. This is when I solved it, we needed 27 screens to turn on and off throughout the song, changing the entire song every few seconds. Other songs are done in the same way, such as “Mourning” and “Loss.”

Then, our situation is the opposite because I want to fight all the digitality with something extremely simulated, and the best song that looks like it is "Body Memory." There, we removed the screen, canceled the "Magika Lantera" effect, and added 50 pieces of choir, seven-meter-long organ tube, round flute, custom magnetic harp, and more. So, I want this all to be as dynamic as possible. Try to go from intimate fragile solos to bombing group moments. I call it "digital theater" because I hope it ("corona") can carry the best of all the world, from extremely digital, high-resolution fantasy animations to Lo-Fi Live Theatre, you're one-on-one with performers.

Why did you choose "Cornery" as your title? What bounty do you want those who enjoy it to see? When I started choreographing the flute in 2018 with ("Cortopia") choreographer Margrét Bjarnadóttir, I knew that my ambition to broadcast "utopia" live to the stage was such a scope of work and that it was impossible to save it through my long-term manager through my long time, and it wasn't about gradually playing a role in the work. So instead of being named after the album, I was "Cornucopia" and knew it would be a ship that would be more things. In the middle of the tour, Covid came and worked in my favor and I had to stop and write a brand new bass-viscosmic fungus album. Then, as we do the second half of the tour. By then, it had become something more complete…the sci-fi island in the sky had soil and fungal roots.