There's Almost No Content In

The Generation Of Composers That Are Just Preceded Me, People Like [karlheinz] Stockhausen, [pierre] Boulez, And, Well, [john] Cage For That Matter,[morton] Feldman ... That Was A Kind Of Experimental Music That Was Very Isolated. It Had No Real Public.

So The Real Drama For Me Is Balancing Live Performances And Writing, And One Of The Ways I Balance It Is I Write In Hotel Rooms. That's Not Exactly Balancing. Actually, Writing In Hotel Rooms Means That I'm Refusing To Deal With The Problem.

It Doesn't Need To Be Imagined, It Needs To Be Written Down.

I, As A Young Guy Getting Out Of Music School, I Didn't Like The Prospect Of Spending My Life Writing Music For About 200 People.

What You Hear Depends On How You Focus Your Ear. We're Not Talking About Inventing A New Language, But Rather Inventing New Perceptions Of Existing Languages.