I wish there was a serious investigation into flying saucers that wasn't conducted by crackpots. Unfortunately nearly all of the people who are interested in them kind of manufacture the evidence to fit the theories rather than the other way around. So it's very hard to find any dispassionate treatment of them. Maybe there isn't any scientific basis in which case that's why you never see any scientific evidence.

If you had a sign above every studio door saying ‘This Studio is a Musical Instrument’ it would make such a different approach to recording.

If there is a new fascism, it won't come from skinheads and punks; it will come from people who eat granola and think they know how the world should be.

I'm very good with technology, I always have been, and with machines in general. They seem not threatening like other people find them, but a source of fun and amusement.

I've got a feeling that music might not be the most interesting place to be in the world of things.

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.

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.