But the difference between the little pieces and the big pieces - I'm not actually sure which are the little pieces. With some of the big pieces, it's a lot of musical running around, whereas the little pieces, you can say everything you want to say.

I've been working in theater, really, since about 1965. I started working with the Mabou Mines about then, and in a way I've always worked in the theater, but it's never been a main part of my work. And it wasn't until Einstein that I kind of shifted into high gear with theater, working with Bob, with Bob Wilson. And since then I find it a very attractive form to work in. It's just an extension of my work.

You get up early in the morning and you work all day. That’s the only secret.

The hardest thing about traveling is that mostly you get to a point - and it always happens on every tour - where you can choose between eating and sleeping, but you can't do both.

I'd say the differences are more interesting than the similarities at this point. Certainly no one would ever mistake my music for Steve's [ Reich].

The work I've done is the work I know, and the work I do is the work I don't know. I don't know what I'm doing.

The problem with listening, of course, is that we don't. There's too much noise going on in our heads, so we never hear anything. The inner conversation simply never stops. It can be our voice or whatever voices we want to supply, but it's a constant racket. In the same way we don't see, and in the same way we don't feel, we don't touch, we don't taste.