Well, first I studied piano. I wasn't very satisfied because I though my teachers were dumb... and repressive.

I think I came across Cecil Taylor a bit later, in 65 or 66. That really impressed me - Cecil Taylor is an amazing character... Both his music and the way he approaches the instrument are astonishing.

With the piano I'm completely in control of the gestural situation-not that I'm going to play the piece myself, but I know what's difficult, what's impossible.

Whereas Schaeffer and Henry were working like samplers, their idea was to capture those sounds which couldn't be serially calibrated because they were too complex in character.

I was born in Paris, and I haven't moved, except until now - I live in the suburbs and I hate it.

So the ideology was that: use sounds as instruments, as sounds on tape, without the causality. It was no longer a clarinet or a spring or a piano, but a sound with a form, a development, a life of its own.

Boulez seemed to me to be a guy who wrote laws. Like a company lawyer.