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.

I don't think I'm capable of making radical changes, but over a period of four or five years you can perceive very big changes, and they seem rather small at the time.

I'd say it's just part of the world that we live in; it's part of the music world.

Akhnaten is kind of a dark, kind of mysterious character. We don't know a lot about him - a lot of information on him was lost. But he obviously was a kind of iconoclast of him time. I guess I'm attracted to people like that. Like [Albert] Einstein also, who radically changed our way of thinking about the world we live in.

A new language requires a new technique. If what you're saying doesn't require a new language, then what you're saying probably isn't new.

What came to me as a revelation was the use of rhythm in developing an overall structure in music.

I always knew what I wanted to do and I did it.