Somehow, we [ Tan Dun and director Chen Kaige] were all privileged at the time; we could be outside of China. But at the moment, we had no sense of what the future was going to be like.

Even if there have been setbacks during these past years, China is changing. China's society is opening.

So-called Chinese art and culture is under control of the Party. They exist to serve the official agenda. I call it fake art and culture.

I spent a lot of time standing on street corners [of New York City] talking to local residents. I spent time in bookstores and galleries. But most of the time, I really did not have much to do.

I never think any place is better than others.

If it's possible, I will have some noodles in the morning and start talking to people, start to think about a few things in my head - the project or a few ideas which are not finished or if there are possible directions and what will lead into another game. It's always like setting up some kind of game you can continuously play.

The leadership knows that you cannot solve the issues of China's future with the means of the past. The demographic consequences of the one-child policy, the build-up of the welfare state, the jobs for 7 million university graduates every year, the immense corruption: Even some Western governments would have to scramble to find solutions to such problems.