own nay, i experiment with wall thickness, with the size of the tone holes, with the shape of the embouchureth very small, tiny little measurements in order to generate different kinds of tone. [airy tones] nay is a persian term meaning simply pipe. and nays in various forms appear from north africa all the way to western china in very many different kinds of forms. and the nay that i play is associated with turkey. it is this shape, this profile here, that is said to give the turkish nay its particular tonal timbre. but the real place where timbre lives is inside the instrumentalist's heart and head. if the instrumentalist doesn't hear the timbre in the instrument and the music, then the audience won't hear it either. (narrator) while materials and construction are critical in determining the timbrel capabilities of an instrument, it is the musician who makes the instrument come to life. in essence, the instrument becomes the unique musical voice of the player. (redman) i think the connection that you feel with an instrument is oftentimes beyond literal or verbal description. but i think on

his teeth and had to relearn the trumpet, and people who play the trumpet know what losing your embouchurehing. eth like a piano player getting their hands cut off or something. he had to start from scratch. it's really admiral because what was remarkable about him was that he was just a natural musician. he couldn't read music. everything had come so easily to him in his life, and all of a sudden he had to work extremely marred. >> trevor: you're no stranger to working extremely hard. when you go into these roles, how much do you allow the role to consume you? do you ever find yourself coming out of a funk after you've played this character for a while? do you find you have chet baker in your now? >> well, yes. i mean, that is the strangest thing about my job is you're dealing with your emotional life and, so, your body doesn't know that you're pretending, if that makes sense. it's difficult. it's the hardest thing. i like doing movies because i get to do that away from my family. my wife hates it. when i say i'm going to do macbeth on prodway here at home, she's, like, you're going to be

i just had to worry about the embouchure and the fingering and the playing.f the music. >> seth: it seemed like it was fun for you. i've heard your co-star hated it. >> that is true. >> seth: yeah. >> yeah. [ laughter ] carmen ejogo is a great actress. >> seth: she's fantastic in the film. >> yeah, and she said the worst thing about the this movie was that we shared a -- it was like a dressing room that had a little partition in between it. and i was practicing all day long. and then, we'd go back to this hotel. we're in the middle of nowhere, canada, okay? >> seth: uh-huh. >> some ramada inn off a highway in istanbul or something. and at night, we were down the hall from each other in the hotel room, and i was practicing then, because that was all i had to do. and she said it was kind of like a form of torture. >> seth: yeah. >> yeah. [ laughter ] >> seth: well, because again, you needed the full eight years to still not be great. [ laughter ] >> yeah, well, here's the irony about that. in the movie, you know, part of the legend of chet baker is he gets beat