In 2001, Warluzel started to film the Israeli conductor Daniel Oren in different venues in Europe and Asia. Rather than filming the concerts, he chose to document what happens before, during and after the rehearsals. He thus focused on the work in progress and on the different combinations with which the conductor rehearsed for the concert: piano and choir, piano and soloists, orchestra only, orchestra and choir, orchestra and soloist, and finally all the orchestra parts together. With their moments of repetition, choices of interpretation, and various experimentations, the rehearsals expand the concert’s playing time. Warluzel recorded many hours of rehearsal with his DV camera, documenting the conductor’s “studio.” How to show, afterwards, all those phases? By choosing not to edit the rushes, he attempted to make the narration process legible, always caring about the frame and the subject’s distance. Warluzel then patiently and precisely translated Oren’s physical gestures into a textual score describing the conductor’s words, chants, postures and attitudes. Recorded by an actor, the text provides a parallel textual soundtrack to the movie.