Watts: Weirdly, practicing and figuring it out is the exhausting part. Because you're constantly calculating what you're doing, trying to give credence to each passing moment. You're not just creating a wash of sound. So it's exhausting to create it, that's the truth. But the performance is like this incredible catharsis. You know, it's dangerous, anything can go wrong. And anything has gone wrong! We've done it when a film has broken in half, or like burned—like you see these little burn marks on the screen, and you're like, "Oh my god"—or we've played one when the projector was set on repeat, and kept repeating the same 15 minutes. So it can be really scary for us, because we care intensely, and we don't want to do the director of the film a disservice. So we're scared. We don't really know if we're going to pull it off. We're not exhausted, we're like on a major three-hour adrenaline rush. It is so cathartic, and at the end you just remember, "Oh this is why it matters."