You can't really imagine music without technology.

Possessions are a way of turning money into problems.

Complexity and intelligence grow from simplicity, not from greater complexity.

Even though I'm known as a pop musician, I have a seriousness about what I do.

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.

Songs that don't depend on composition depend instead on performance - so the fire has to be there in the playing.

Since I have always preferred making plans to executing them, I have gravitated towards situations and systems that, once set into operation, could create music with little or no intervention on my part. That is to say, I tend towards the roles of planner and programmer, and then become an audience to the results