Do you have a favourite among your works?

My favourites are the ones that have come to life. For example, I love our most recent song, called Goodnight Friend.

None. I love all of them.

EMŐKE: Szerelem (Love) at the Trafó.
TAMÁS: Szerelem (Love) at the Trafó. I love it. Somehow, we were so lucky to meet in that play that it still has a major effect on our present.

It changes all the time. I could mention many. Or also just a few. I like my painting titled Koncert (Concert), which I painted in 2010, very much. And also Vihar (Tempest), from 2008. It is still here in my studio.

I have no favorite. In my opinion, this is the worst possible question. Only a dilettante or someone who has burnt out would answer it.

I hate them all with love.

Always the one I’ve just finished working on. I take great pride in the music I composed for Terápia (the Hungarian version of the US TV series In Treatment); it was a great experience to be working with Ildikó Enyedi, Attila Gigor (the directors of the series) and the HBO team. Other works I’d like to mention include Vox Humana for Digic Pictures and the soundtrack of the Thai-US co-production The Elephant King (2006, directed by Seth Grossman).

Nearly all of them... for different reasons. The ones that seemingly haven’t turned out so well are also important, because they help me move forward. I’m the biggest SI-LA-GI collector. My studio is one huge, chaotic treasure store.

No. I grow to hate them by the time I finish them. I put them away because I’d keep finding faults with them otherwise.

It’s always the one I’m currently working on. That’s the piece I wake up with and go to sleep with and am absorbed by. Now it’s the group of children that I’ve just started. They’re my favourite now.

It’s always the one I am working on.

Yes, I do. I really like my piece called PRLGTT.

KCsCs: Nyócker (The District).
ZK: I’ve been acting in Zoli Egressy’s play entitled Sóska és Sültkrumpli for more than a decade. We used to play it at the Budapest Chamber Theatre but, unfortunately, the theatre closed down. However, the play continues at József Attila Theatre.
As for my dubbing roles, I played Woody Allen’s Hungarian voice in the movie Bananas. It was a bold decision for the director to give the role to me because I was only a beginner back then but I was really grateful and it really created lasting memories to me.

“Blue nose” was really successful.

Works (billboards, TV commercials) that were accepted by the client without any alteration.

Always the latest writing I complete.

Not really. It may sound a bit strange, but tattooing is sort of a “Buddhist” job. You complete a tattoo, and then you might even take a photo of it, but chances are that you won’t ever see it again. You must learn to let your art pieces go, you can’t grow attached to them. You can be satisfied with it but you can’t fall in love with your work. You must start letting it go while you are still working on it because otherwise you will lose your objectivity and your critical attitude. If you let it go, you can move away from it and then the person getting the tattoo will be able to love it very much.
There are no tattoos I made that I love very much, but the people I tattooed are crazy about the tattoos they get. It is a great job; you can meet a lot of cool guys. I’m fortunate because people from distant corners of the world travel here for my style, if I can call what I do a style. It is simple to stay inspired and energetic in this way. I can choose from great assignments.

Singing. But I love all of them.

There are a few, usually they are the “less obvious” ones with a more subtle allure.

My favourite is always the one I’m currently working on. The ones I don’t like I destroy.

I don’t have a favourite piece. I don’t even know how many pieces I’ve made over my career. I always focus on my works of recent years. Everybody is looking forward to seeing my latest mobile sculptures. I still have a lot to express, both things I like and things that repel me. Now that I feel that I’m slowly running out of time, I don’t have the luxury of spending a lot of time on individual pieces.

I don’t often listen to my own music, but looking back over the past 10 years, perhaps I’d choose “Parachute to Eternity”. It’s a very personal song and I don’t think I could ever repeat it.

Not many, just a few, such as Hopper in Budaörs (1997) and the City (1999).

I like pretty much equally all 18 plays that I’ve written and directed, with the exception of three, but my favourite is usually the most recent piece, which currently is Week 42.

It’s always the most recent piece that excites me the most.

I love working on Sette Piani, the opera I mentioned. Last year, I composed music for and based on the works of Czesław Miłosz, a Nobel laureate poet from Poland. It was published by BMC under the title Hang Hangba Hull és Hangot Kerget (“Notes chasing and falling into notes”). It’s also a favourite of mine, though I’d give it a different title today.

József: I enjoy making creamy pastries.
Ibolya: I love all the things women typically do, though I don’t do needlework, crocheting or knitting.

Always the one I am writing at the moment. A creature in the making is always the one that needs the most care.
And for the ones that have been released and started “their own lives”, I would point out “Nincs alvás!” (“No Sleep!”), which can be considered a professional success, while “Pompásan buszozunk!” (“What Fun We have on This Coach Ride!”) was very popular among readers.

If I work for a client, I have to consider a lot of criteria. So I do not really like that. I do not have any favourite works, I have not made one yet. I am a collector of my own work. I create pieces that I like. I am not bitter at all. I work because I want to get to know myself. It’s a game.

It’s always what I’m working on at the moment – that’s how I can remain passionate about what I do. Together for universal culture, hooray for 20th-century modernity!

Five or six years ago, I designed a log house in the Bükk mountains for a Buddhist community. My plan was to go with the eventual residents and plant the trees, and that once they would be big enough, we would cut them down and build the house, using manual labour only.
For thirty years, work would only consist of going out to the woods and admiring the trees. I hope they contact me soon, so I can get it done in my lifetime.

Ivan from The Brothers Karamazov. I’m pleased that I was given the role, but each night I died a little, both physically and emotionally. I also liked the roles of Petruchio, Tybalt, and Bottom, or in other words, I liked every role that Seregi cast me in.

Yes, I do. Though they are often different from the ones my friends like.

Zsolt: There’s a detached house which is under construction in Budapest. It’s going to be the house of a childhood friend. Cooperation with this person was great and we had a good time working on the project. My friend took all our advice and did what we recommended.
Donát: I don’t really have a favourite project. What I like to recall is the work process. When a project starts, it’s the project as a whole that’s interesting, but later on it’s the creative process that I enjoy.
Ákos: I always have a new favourite. A few years back we designed a crèche in Törökbálint. I like that very much.

There is a 130 by 130 oil on canvas abstract painting from 1994. One of my pieces was selected for the 1998 “Fehér vonalak, fekete vonalak” (“White lines, black lines”) exhibition at the Műcsarnok (a contemporary arts museum in Budapest). It was a great honour to have my work displayed next to those of Ákos Birkás, László Mulasics and Zoltán Tölg-Molnár.

Right now it’s Art Market Budapest. I wouldn’t even have time for anything else. It’s immensely inspiring. I’m lucky to be able to do what I enjoy and vice versa.

Ádám: The metro station of Fővám tér, a kindergarten in Törökbálint, the reconstruction of the mushroom-shaped monument in Móricz Zsigmond körtér and a lot of plans that remained plans. My favourite is always the plan we are working on at the time. And then, when a project is completed, it kind of cools off; outwardly I leave it behind but somehow it always comes up in other works.
Sándor: Metro4.
Tibor: Can you really have a favourite piece? It’s like having a favourite child.
Orsolya: Yes, I have 3, 4 or 5 favourite ones.

The Disznókő Winery in Tokaj and a school in Pécel.

I don’t really know. Perhaps Jolán Sárbogárdi: The Angel of the Body, but that’s also a laboured choice, since I could have mentioned any number of them.

I do, and not necessarily our biggest hits. Right now, my favourites are two songs from our latest album: “Ise” and “Unanswered”. I feel that we got those exactly right, but our audience typically prefers other songs.

I like items that are made freely for their own sake without any restrictions in terms of size, material and form. I always keep such pieces of jewellery. From day to day I don’t wear much jewellery. Normally I wear just a ring decorated with a moon, with the face turned inside.

Whatever I’m working on at the given moment. Looking back, perhaps I like the light boxes with mirrors and the chopping board series the best.

I have favourites based on their professional quality, but for me the circumstances of their creation is much more important because of the discussions with clients, fellow architects and builders. The Pavilion of the Hungarian National Bonsai Collection at Budapest Zoo, the residential building at Práter utca, the processing plant of the Bazaltbor/Laposa Winery and the reconstruction of the Great Rock at the Zoo are the works of mine that stand out. On the other hand, the most joy and harmonious outcome probably came from restoring a small house in the Balaton Uplands.

I’d rather name fields that I work in than individual jobs. I feel the greatest affinity with corporate image design and illustration.

There are none that I could pick out in particular. I always try to give my best. I work for love. My work is a continuous dialogue between client and designer, the two sides of the same coin. However, there are some tough moments. Creativity and rational thinking make strange bedfellows. The technical aspect sometimes hampers creativity. I constantly keep up with new technologies to enable my creativity to soar.

I have two very different favourites: the Disney musical Beauty and the Beast, which I directed at the Budapest Operetta and Musical Theatre, and Bernarda Alba (which is more of a contemporary opera than a musical) by Michael John LaChiusa, which I directed at the Palace of Arts.

The large-sized yellow objects of the Structura Solida series, which were on show at the Kiscelli Museum in 2000.

If you can call my son a work of art, then he is one of my favourites... But as it happens I like the process of creation itself, rather than specific sculptures.

Yes, whatever I’m working on right now. I don’t like looking back. It’s best to look forward.

Many, but my all-time favourite is my first independent project, the club Nincs Pardon (No Pardon).

It depends on what stage of my life I’m at. But there are quite a few works that I still feel good about, for example my instrumental electronic album Lushlife was released in 2005 in Germany.

Yes I do. There are some I’d love to buy back.

ND-GZ: The Telenor headquarters, which represents both essential knowledge and freedom. And our pet projects are designing family homes, because we make friends and have great personal experiences.

RF: Playing instrumental music with Budapest Bár and performing with the band at the London Jazz Festival was a real challenge. Making music with Scottish jazz pianist Brian Kellock at the Edinburgh Festival was also a great experience that I won’t forget. At the closing event of the Extremely Hungary series in New York, we worked together with Fire&Fire, exploring the similarities between Afro-American and Hungarian Gipsy music. It was the beginning of many lasting friendships.

JN: The latest Nemjuci record, which came out at the end of March. It has ten songs and took a lot of work and energy to make. The case is also a favourite, made from reused waste cardboard with an exciting design and a poster inside.

Protokoll has been on at the Radnóti Theater since January. A volume of my essays is coming out in April (Teremtés vagy sem/ Creation or not), and Libri will publish a collection of my short stories for the Book Week.

Always the one we are working on. This can be 15-20 projects at a time. But I still like MEO a lot.

I have been painting for about 40 years, and there are works that are particularly important for this or that reason, or ones that I like. But all of them are in the right places now.

Even if it is not always the case, my favourite is usually what I am working on at the time.

Always the one in the works. Our quartet’s album titled Lámpafény (Lamplight) came out last year, This is my first album in Hungarian. Another memorable piece is the sound track I wrote with Albert Márkos for the movie titled Utolsó idők (Last times).

KI: I always have two or three pieces in every collection. Usually the simplest and most comfortable ones.
NR: Yes, always. Right now: cardigan, shirt and blazer. We have been making them for a long time but they change all the time.
KS: Bags. When I buy some interesting leather and can use it for design, or when I see a good graphic work or painting – these the things that have given me the most pleasure recently.

When I have finished a work it is over for me. The challenge is gone.

K: A pair of speakers that I designed with Dávid Jankovics. We have recently started a fashion line that elevates concrete into the category of materials to wear.
A: I always enjoy my ongoing challenge and the process of working in the job. I need the feeling of accomplishment.

I guess I do.

My paintings fade from my memory. In part, this what painting is about. My favourite is always the one that I am working on.

Always the ones I am working on. I start working like people dive head first in the water.

My sculpture titled Hullámfal (Wave wall) (2006): it is a very clear overall expression of my world of forms and ideas.

Always the one I am working on. I am driven by my curiosity. I want to see what the material turns into in my hands.

Always the one I am working on.

I get the feeling that my works like me more than I love them.

I keep a work from every period but my favourites change.

here comes the answer

TMTH' Madonna, Killer scene, My son Benjamin, The Lord of the Rings.

It changes all the time! There are many works that I consider important but they (too) show their fullest potential only in a museum or a collection. 

Always the one that I am making.

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