I don't like celebrity programmes - but I do like programmes about how ideas are formed and evolve.

I had an interesting day. I was in the studio with a group of musicians, who shall remain nameless, and I said to them "Our exercise today is not to use 'undo' at all. So, there's no second takes. Or, if you do a second take, you have to do the whole take. There's no sort of drop in, change that little bit". The session broke down in, I'd say, 40 minutes. It was impossible for people to work in that restriction any longer.

More and more I find I want to be living in a Big Here and a Long Now.

My kind of composing is more like the work of a gardener. The gardener takes his seeds and scatters them, knowing what he is planting but not quite what will grow where and when - and he won't necessarily be able to reproduce it again afterwards either.

I describe things in terms of body movements. I dance a bit to describe what sort of movement it ought to make, and that's a good way of talking to musicians. Particularly bass players.

Music in itself carries a whole set of messages which are very, very rich and complex, and the words either serve to exclude certain ones or point up certain others.

The prospect of music being detachable from time and place meant that one could start to think of music as a part of one's furniture.