Music was literally in the air at the time, the Vienna of 1780. Everybody played music, classical music. There were in fact so many musicians that in apartment buildings people had to come up with a schedule - you practice at 5 p.m., I'll practice at 6 p.m. That way the music didn't collide with one another.

The late British-born philosopher Alan Watts, in one of his wonderful lectures on eastern philosophy, used this analogy: "If I draw a circle, most people, when asked what I have drawn, will say I have drawn a circle or a disc, or a ball. Very few people will say I've drawn a hole in the wall, because most people think of the inside first, rather than thinking of the outside. But actually these two sides go together--you cannot have what is 'in here' unless you have what is out there.' " In other words, where we are is vital to who we are.

Don't forget that Mozart worked on commission. He almost always would write something if he knew exactly who was paying for it and where it would be performed. So you can't really separate the creation of genius from the appreciation of it.

People don't go to Starbucks for the coffee - of that I'm pretty sure - they go for the atmosphere, they go for the 70 decibels, they go for the Starbucks effect.

That's why we feel so disoriented, irritated even, when these touchstones from our past are altered. We don't like it when our hometown changes, even in small ways. It's unsettling. The playground! It used to be right here, I swear. Mess with our hometown, and you're messing with our past, with who we are. Nobody likes that.

A Mozart symphony is very much like a Pixar movie - in the sense that Pixar movies are hugely successful because they operate on several levels at the same time.

I think we should have more coffeehouses, more cafes, more "third places." More places where people can get together that's not work, not home, and where they can interact with people who are different from them.