My interest in making music has been to create something that does not exist that I would like to listen to. I wanted to hear music that had not yet happened, by putting together things that suggested a new thing which did not yet exist.

Human development thus far has been fueled and guided by the feeling that things could be, and are probably going to be, better.

Once music ceases to be ephemeral - always disappearing - and becomes instead material... it leaves the condition of traditional music and enters the condition of painting. It becomes a painting, existing as material in space, not immaterial in time.

Another way of working is setting deliberate constraints that aren't musical ones - like saying, "Well, this piece is going to be three minutes and nineteen seconds long and it's going to have changes here, here and here, and there's going to be a convolution of events here, and there's going to be a very fast rhythm here with a very slow moving part over the top of it." Those are the sort of visual ideas that I can draw out on graph paper. I've done a lot of film music this way.

What matters in modern music is not the part you can write down, the words and the tune, but the rest - the texture, the atmosphere, the references and associations.

I think that sex, drugs, art and religion very much overlap with one another and sometimes one becomes another.

Everybody thinks that when new technologies come along that they're transparent and you can just do your job well on it. But technologies always import a whole new set of values with them.