Whales, for example, also navigate with sound, but they're now beginning to be beached because the ocean is getting too noisy. Weird things like that. I mean this is very real. Like, if you look at the satellites in the sky at night you know it's an eerie sense of we're.

The world is a very, very, very big record. We just have to learn how to play it.

In fact, if you look at the root word of phonograph it just means phonetics of graphology, phono-graph, writing with sound, so graphology. You know graffiti, same root word.

I have to deal with some dumb folks. It's a real drag.

On one hand you have a string quartet, which is not a symphony. On the other hand is you have me sampling them and making it sound like there is many more people playing, so the whole notion of, kind of, sampling applied to classical music is very intriguing to me because composers throughout history have borrowed motifs and quotes from one another.

What I'm going for with the string arrangements for my Antarctic symphony is a pun here.

So he [Sigmund Freud] called this "the uncanny" and he also referred to cities as well, like the idea of walking through the city and the way the urban landscape could lead you to a sense of disorientation and to a kind of, you know, sense of repetition. And the way a city can unfold as you walk.